At any given moment, finding a movie to watch isn't difficult. But there's a difference between pressing play on any old film that your streaming service of choice is throwing your way — new releases and classics alike — and feeling like you're discovering something that's truly special. Online film festivals have been playing in the latter space during the pandemic, and letting cinephiles enjoy that electric feeling that comes with giving yourself over to a gem of a feature. And, for two years in a row now, Melbourne's annual film fest has been as well. The Melbourne International Film Festival didn't intend to run solely online two years in a row. In 2020, it made the jump to digital by necessity. This year, it worked towards a triumphant return to cinemas — yes, to physical screenings — while also continuing to embrace the greater accessibility that virtual sessions provide. But this year's fest always had to have contingency plans in case outbreaks and lockdowns bubbled up again, which is exactly what's happened. So, MIFF is unleashing its magic solely online once more. Making movie buffs feel like they're getting swept up in the latest and greatest in international cinema is still on the agenda, though. You might be sitting on your couch instead of in your favourite seat right at the back of the Forum or Hoyts Central — and you might be elsewhere in the country, too, instead of making the trip to Melbourne for some wintry cinema fun — but MIFF hasn't stopped giving film lovers what they adore. Already, we've watched, reviewed and recommended ten must-sees on the festival's MIFF Play streaming platform; however, this 18-day fest has plenty more where they came from before it wraps up on Sunday, August 22. So, we've done the same with another ten films. Streaming a couple won't just help you feel like you're getting a MIFF experience, either, but it'll also support the fest during an obviously challenging time. RIDERS OF JUSTICE Few things will ever be better than seeing Mads Mikkelsen get day drunk and dance around while swigging champagne in an Oscar-winning movie. Yes, that's one fantastic film experience that 2021 has already delivered. But the always-watchable Danish star is equally magnetic in Riders of Justice, a revenge-driven comedy that's all about tackling your problems in a different and far less boozy way. After a train explosion taints his life with tragedy, dedicated solider Markus (Mikkelsen, Chaos Walking) heads home to be with his traumatised daughter Mathilde (Andrea Heick Gadeberg, Pagten). Talking is her way of coping, but clamming up has always been his PTSD-afflicted modus operandi. Then statistician Otto (Nikolaj Lie Kaas, The Keeper of Lost Causes), his colleague Lennart (Lars Brygmann, The Professor and the Madman) and the computer-savvy Emmenthaler (Nicolas Bro, The Kingdom) arrive at the grieving family's door with a theory: that the accident was anything but because mathematically it's just so unlikely to have occurred otherwise. As written and directed by Anders Thomas Jensen (Men & Chicken) — and co-penned with Nikolaj Arcel (A Royal Affair) — Riders of Justice takes a darkly comedic approach to its storyline, which is where its anarchic plot developments and witty dialogue come in. But this is also a film with a thoughtful and tender core, especially when it comes to men facing their troubles. It's set at the end of the year as well, so it counts as a screwball Christmas movie. ROSE: A LOVE STORY Less is more in survival thriller Rose: A Love Story — which is also a brooding horror movie, and yet doesn't feel the need to overplay its hand. This intimate British gem takes a familiar setup, bides its time building out its chosen world and revels in getting to know its two main characters, because their precarious relationship sits at the heart of the smartly written film. Living off the grid in a tree-lined patch of wilderness, the eponymous Rose (Sophie Rundle, Peaky Blinders) and her husband Sam (Matt Stokoe, Cursed) have clearly settled into their routine some time ago. They largely live off the land and pay one trusted acquaintance to bring them petrol for their generator, all so Rose can stay inside writing while Sam tends to chores outdoors. But she also needs his care, and needs the blood he collects via leeches — and when an injured teenager (Olive Gray, Save Me) literally stumbles upon their quiet abode, that part of their existence starts sparking questions. With its stripped-back way of unfurling its narrative, Rose: A Love Story leans heavily on Rundle and Stokoe's textured and compelling performances, which explore the stakes and sacrifices that come with love in every glance and gesture. Stokoe also wrote the script, but first-time feature filmmaker Jennifer Sheridan brings a canny eye to both warm and brutal moments alike, and to teasing out the complicated and fragile bond between this particular pair, as well as any duo in love. NIGHT OF THE KINGS Every movie aims to make its viewers feel as if they've stepped straight into its glistening frames. Rare is the film that genuinely manages that feat, though. Rarer still is a feature as vivid, immersive and engaging at every moment, and via every piece of sound and vision it thrusts at its audience, as Night of the Kings proves across its 93-minute running time. The second directorial effort from Ivorian filmmaker Philippe Lacôte (Run), this prison-set blend of drama, thrills and fantasy heads inside a Côte d'Ivoire jail surrounded by rainforest outside Abidjan. When a new inmate (debutant Bakary Koné) arrives, he's plunged straight into its chaotic depths; however, he also becomes a key player in its internal politics. Here, the inmates enforce their own order, including requiring their leader (Steve Tientcheu, Les Miserables) to take his own life if he can no longer fulfil his role. This incarcerated society also places great emphasis on one particular storyteller, a job that's soon bestowed upon its newest member. So, the fresh face dubbed the prison's 'Roman' spins a tale that jumps through the past, from 19th-century Africa to more recent bloodshed, with his words leaving his fellow detainees hanging — but if he can't make his yarn last all night, he too will meet his end. Night of the Kings sits right on the precipice of myth and grit, and of history and fantasy, and it's as inventive as it is gripping. And, even if the great Denis Lavant (Holy Motors) didn't pop up, it'd still be an imaginative and beguiling piece of cinema. COME BACK ANYTIME Craving the rich, noodle-laden flavour that only ramen can bring is an instant side effect of watching Come Back Anytime. Yearning to wander into a tiny Tokyo ramen bar, take a stool at the bar and watch a ramen master at work — while you leisurely slurp through his brothy bowls, pair them with pan-fried gyoza, enjoy a sake or several, and chat to his regular customers — is just as natural a consequence. Directed by John Daschbach (Brief Reunion), this year-in-the-life portrait of Chiyoda City's Bizentei and its owner and chef Masamoto Ueda is culinary documentary filmmaking at its finest, examining a beloved type of dish, one talented man who has made it his life's work, and the many other lives — and tastebuds — touched along the way. When the film hangs out in the ramen bar, watching Masamoto cook, his wife Kazuko assist, and Bizentei's devotees savour every sip, it captures a place and a mood with the same affection as Las Vegas bar doco Bloody Nose, Empty Pockets. When it explores Masamoto's technique and impact, it's the Jiro Dreams of Sushi of ramen movies. And when it cycles through the seasons, showing what different times of the year mean at the ramen joint in question, how its central figure's existence adapts and evolves, and also using its structure to prompt jumps back into both Bizentei's and Masamoto's history, it's never anything less than a deep, charming, soul-warming and all-round full cinematic meal. PREPARATIONS TO BE TOGETHER FOR AN UNKNOWN PERIOD OF TIME Preparations to Be Together for an Unknown Period of Time first introduces Hungarian neurosurgeon Márta (Natasa Stork, Jupiter's Moon) as she's unloading her romantic woes upon her therapist. What could've been a standard rom-com or romantic drama setup soon twists into something far more alluring and intriguing, however, with writer/director Lili Horvát (The Wednesday Child) pondering just how we can ever know how someone else really feels about us, and how long any romantic emotions can last — and if we can ever trust those intense memories of love that implant themselves inside our brains and refuse to leave. After working in the US, Márta has returned home to Budapest suddenly because of fellow doctor János (Viktor Bodó, Overnight). They met at a conference in New Jersey, and pledged to cross paths again a month later on a Budapest bridge, but he doesn't show up. Worse: when she tracks him down at work, he says he doesn't know her. Márta can't bring herself to return stateside, though, and can't get János out of her mind in general. This is a haunting and beautifully acted psychological drama that lays bare just how all-encompassing, obsessive, intoxicating and mind-melting love can feel, all as it toys with memory and its ability to shape our perspectives. The tone is loaded but uncanny — sweet but uncertain, too — and Horvát has fun getting both emotional and cerebral while having her characters cut open brains. In other words, there aren't many movies quite like this one. THE NOWHERE INN "From now on, I need more say in how people are going to act," says Annie Clark. "It's a documentary," replies Carrie Brownstein. Winking and nodding (and gleefully eager to show it again and again), The Nowhere Inn tasks the famous pair with playing versions of themselves — under the guise of the Sleater-Kinney muso and Portlandia actor shooting a doco about St Vincent as she goes on tour for her album Masseduction. This psychological thriller-meets-mockumentary finds plenty to parody within its premise, especially after Brownstein suggests to Clark that she might want to let her onstage persona bleed out into the behind-the-scenes footage, because talking about radishes isn't really setting the right vibe. Cue a satirical interrogation of authenticity and performance, creativity and fame, and the riding the rollercoaster that is putting yourself out there in the world. Clark goes from mildly playing Scrabble and chatting about vegetables to becoming an OTT rock diva 24/7 and staging an affair with Dakota Johnson, with the Suspiria star even aping the musician's hairstyle. Meanwhile, Brownstein segues from trying to convey the different facets and blurred boundaries within her subject to sometimes recoiling from and sometimes embracing the exaggeration and artifice that comes with Clark being St Vincent non-stop. The two central figures wrote the script themselves, mining fame's existential struggles for both insights and laughs, and their commitment to the concept shows. Behind the lens, first-time feature filmmaker Bill Benz also brings a sketch comedy feel from his time on Kroll Show and, like Brownstein, Portlandia. NEW ORDER If only one word could be used to describe New Order, that word would be relentless. If just two words could be deployed to sum up the purposefully provocative latest film by Michel Franco (April's Daughter), savage would get thrown in as well. Sharing zero in common with the band of the same name, this 2020 Venice Film Festival Grand Jury Prize-winner dreams up a dystopian future that's barely even one step removed from current reality — and in dissecting class clashes, and examining the growing discontent at the lavish lives indulged by the wealthy while so much of the world struggles, the mood and narrative are nothing less than brutal. The place: Mexico City. The setup: a wedding that goes wrong. As the ceremony gets underway at a compound-esque mansion jam-packed with the ultra-rich and ultra-corrupt, the chasm between the guests and the staff is glaring. Case in point: bride-to-be Marianne (Naian González Norvind, South Mountain) couldn't be more stressed when she's asked for money to help ex-employee Rolando's (Eligio Meléndez, La Civil) ailing wife, and plenty of her family members are flat-out rude about their former servant's plight. Then activists start making their presence known outside, and further afield in the city's streets. The military respond, sparing no one in their efforts to implement the movie's moniker. Franco doesn't want any second of New Order to be easy to watch, or for the parallels he's critiquing to go unnoticed — and while this definitely isn't a subtle film, it's a stylistically brash and bold, emotionally dynamic whirlwind that festers with palpable anger. STRAY In glorious 2016 documentary Kedi, Istanbul's stray cats received their moment in the cinematic spotlight, and also expressed much about the Turkish city and its human inhabitants in the process. The result was perfect — purrfect, even — regardless of whether you're normally a feline fan. With Stray, it's now their canine counterparts' time to shine. Istanbul has a 'no kill, no capture' law when it comes to the dogs roaming its streets, which is why there's more than 100,000 of them scampering around. And while documentarian Elizabeth Lo only spends time with a few of those tail-wagging woofers, including street veterans Zeytin and Nazar, as well as puppy Kartal, she stitches together a perceptive and textured portrait of their daily lives, of the city around them, and of the people who help and are helped by them. Making her first full-length film after a background in doco shorts, director/cinematographer/editor Lo lets her four-legged subjects be the stars, and lets her audience observe them. More than that, she frequently places the camera at canine height so that viewers feel as if they're seeing the world through a dog's eyes. Forget saccharine Hollywood flicks that use that idea as a gimmick (see: A Dog's Purpose and A Dog's Journey — or, better yet, don't see them because they're terrible). Here, immersion and insight are the key aims, and they're feats that the soulful and thoughtful Stray repeatedly, patiently and ruminatively delivers. THE GIRL AND THE SPIDER When spectacular choreography graces the screen, it's often via balletic feats of action or striking displays of movement and cinematography. The John Wick franchise and The Raid films demonstrate the first category, while movies with a hypnotic sense of physicality such as Climax and Ema sit in the second camp. The Girl and the Spider has little in common with any of these features, and yet it's still a stunningly choreographed film. Directors Ramon and Silvan Zürcher turn their attention to people going about their ordinary lives, as they did in their excellent 2013 debut The Strange Little Cat. Where that last delight almost solely remained inside one apartment, this movie flits between a few, as Lisa (Liliane Amuat, Those Who Are Fine) moves out of the flat she shares with fellow students Mara (Henriette Confurius, Golden Twenties) and Markus (Ivan Georgiev, Leipzig Homicide). As family members, neighbours, handymen and removalists all potter around, Mara only feigns to help. Really, she just hovers around as everyone else works, packs and moves, haunting the space and sometimes wilfully causing messes and scenes. The Zürcher brothers adore gazing at everyday domesticity and letting their characters' actions do plenty of talking. This is a chatty film, but the physical symphony of ordinary comings and goings says just as much. As it contemplates connections and absences, new starts and festering loneliness, and camaraderie and alienation — and isn't afraid to show its characters being awkward, petty and petulant — The Girl and the Spider also uses its enveloping sense of movement to embrace life's ambiguities. THE MOST BEAUTIFUL BOY IN THE WORLD In 1970, at the age of 15, Swedish teen Björn Andrésen's life changed forever. He walked into a hotel room to audition for Italian filmmaker Luchino Visconti, and only did so at his grandmother's urging — but, after the director was struck by his look and presence, the boy was quickly cast in the big-screen adaptation of Death in Venice. Soon, Andrésen would receive quite the compliment, too. When Visconti declared him "the most beautiful boy in the world" at the movie's premiere, the entire planet took notice. That statement had an impact and, while the experience would leave an imprint upon any shy adolescent who'd much rather be playing music than making movies but nonetheless finds himself becoming an international idol, it drastically altered Andrésen's entire future. That's the poignant story that The Most Beautiful Boy in the World tells with a perceptive eye; however, crucially, this isn't just a case of documentarians Kristina Lindström (Palme) and Kristian Petri (The Hotel) looking back, compiling archival footage — including Andrésen's initial audition video — and relaying all of the details from an outsiders' viewpoint. Their central figure is as much a part of the film now as he is in snippets from the past, and he's just as willing to interrogate how Death in Venice caused a major shift in everything he knew. His tale spans much further, too, covering several personal tragedies that he reflects upon with candour, next-level adoration in Japan and a pivotal role in Midsommar. The 2021 Melbourne International Film Festival runs until Sunday, August 22, screening online via the festival's streaming platform MIFF Play. For further details, visit the MIFF website. Looking for a few more MIFF movies to watch? Check out our first ten recommendations from this year's digital-only program.
What do you get when you cross a wine bar with a pub and slot it into a cosy shopfront on Johnston Street? Well, for Chris Wright and Jonathan Reisacher, the result looks a lot like their new Collingwood venture, Gum — a glam 70s-themed boozer heroing hot pies, tap brews and vintage cocktails. It's the first foray into hospitality for these two best mates, though, as music industry veterans, they're confident they've frequented enough bars in their time to know what works. Here, the winning formula involves a nostalgic 70s rock-chic fit-out by Brunswick designer Bianca Sciuto, imagined with the help of retro wallpaper prints, orange laminate table tops and plenty of curves. Yet more Aussie nostalgia shines through the food offering, which runs to a simple lineup of pies from Footscray's Pie Thief — expect varieties like the Big Mac pie and a vegan spaghetti bolognese number — plus sausage rolls and a classic vanilla slice. Eat them in, or grab a takeaway pack to-go. [caption id="attachment_790772" align="alignnone" width="1920"] Rubin Utama[/caption] Meanwhile, the drinks list serves up a tight, but diverse array of sips, featuring mostly Aussie wines and a range of around 20 craft tins from favourites like Fixation, 3 Ravens, Kaiju and Stomping Ground. A cocktail offering is full of flashbacks — think, banana cream daiquiris and a riff on the mai tai — alongside new-school creations like the vodka-infused Grapple starring green tea and apple boba. And if summer's got you feeling extra thirsty, there's a trio of shared cocktail jugs for $45, including The Aperoyal with its blend of prosecco, Aperol and rosé apple cider. Gum is also keen to help pack out your activities calendar, with local DJs now playing every Thursday to Saturday night and regular trivia sessions, games nights and Sunday barbecue parties also in the works. Images: Rubin Utama
In a world brimming with concrete jungles, it's time to escape the urban hustle and immerse yourself in the wonders of the wild. Together with Intrepid Travel, we've curated a list of unparalleled wildlife experiences, from heart-pounding encounters with orangutans to seeing gorillas, sea turtles and much more. All Intrepid Travel adventures are built with local communities, businesses and NGOs to support the conservation of wildlife and the people protecting the wild. So, you can rest assured knowing that the money you spend is reinvested into the protection of the wildlife you see and the communities you visit. Plus, every wildlife trip includes at least one local wildlife expert – either a local park ranger or Indigenous person with a special connection to the land. So, buckle up, fellow adventurers, and welcome to the wild side. See Rhinos at Dusk Did you know rhinos are most active at dusk? Black rhinos have made a huge comeback from their staggering low numbers of only 2500 to more than 6000 today, largely thanks to the massive conservation efforts across Africa. They are still registered as critically endangered, but there is hope. Their close cousins, the white rhinos, are near threatened. You can support their comeback from the brink of extinction by visiting the Khama Rhino Sanctuary on the edge of the Kalahari Desert — the only place left in Botswana where both black and white rhinos reside. Other wildlife that resides in this sanctuary include zebras, giraffes, leopards, ostriches and wildebeest, all of which can be seen grazing the many waterholes. Take a trip to the Okavango Delta region and visit the sanctuary and the Delta's lush waterways, where you can witness hippos and elephants going about their day. Swim with Sea Lions and Sea Turtles What wildlife experience could be better than island hopping through the Galapagos Islands? This archipelago is swarming with unique animals, from ancient giant tortoises and nesting blue-footed boobies to marine iguanas. La Lobería, located on the southwest coast of San Cristobal Island, is known for its white-sand beach and crystal-clear waters speckled with volcanic rocks that are sometimes teeming with sea lions. Don your snorkel set and swim with the locals; you might even spot a sea turtle or two. The wildlife doesn't just reside in the waters. As you take a break on land, you'll spot sea lions lounging around town. See the Big Five on Safari What's the Big Five, we hear you ask? The inhabitants of the expansive African bush: lion, leopard, rhino, elephant and African buffalo. Be immersed in the animal kingdom as you veer off the beaten track to seek out these local legends shelter under the flat-topped acacias in the epic setting of the Great Rift Valley and Lake Naivasha. Here, hippos spend their days floating among the floating islands of papyrus reeds. Monkey-Around with Orangutans Explore a mystical land of natural beauty and rare wildlife on an adventure to Sabah in Borneo. See where sea and green turtles lay their eggs; macaques, orangutans and proboscis monkeys hanging off branches; and, if you're lucky, pygmy elephants. The red-headed locals of the region are a huge draw. Orangutans are the largest arboreal mammal (tree-dwelling). They are highly intelligent, super strong, and, unfortunately, critically endangered. The world's first orangutan rehabilitation centre was set up in Sabah to support the red-headed giant. Sepilok Orangutan Rehabilitation Centre opened in 1964 and now covers 43 square kilometres of the rainforest as well as a clinic, treatment ward and nurseries for orphaned orangutans. If you visit, you will see its protected orangutans in their wild habitat, as they can roam as they please. Seek Out Mountain Gorillas Follow local expert rangers through the steamy forests of Uganda to seek out and witness the rare and gentle mountain gorillas of the mountainous Bwindi National Park. These gentle giants have been pushed further and further up the mountains as their habitats are destroyed. But they are resilient, and their numbers have been bolstered over recent years thanks to conservation efforts. The silverback gorillas are calm creatures who spend their days eating, sleeping, grooming and playing. Visits to the gorillas are strictly controlled to minimise disturbance. For an unforgettable hour, watch the adult gorillas keep an eye on the scene and the smaller ones as they play or hang out in the trees. Get out, explore, dive into adventure and find your WOW with Intrepid Travel. Find out more on the website.
For viewers, much that occurs in Such Brave Girls inspires two words: "here's hoping". Here's hoping that no one IRL has ever been contractually obliged to slip their hand down the pants of the boyfriend that they despise twice a week and on special occasions, for instance. Here's hoping that no one has ever sat in a doctor's office caked in green wicked witch makeup waiting for an appointment about deeply intimate matters, either. The emotions that both situations capture in this brilliant new three-time BAFTA-nominated British sitcom— one digging into the feeling of being stuck on a path that's anything but your dream and dispiritedly going with it, the other surveying life's uncanny ability to put everyone in circumstances so absurd that they seem surreal — are that raw and resonant, however, that watching resembles looking in a mirror no matter your own experiences. If Such Brave Girls seems close to reality, that's because it is. In the A24 co-produced series — which joins the cult-favourite entertainment company's TV slate alongside other standouts such as Beef, Irma Vep, Mo and The Curse over the past two years, and streams via Stan in Australia — sisters Kat Sadler and Lizzie Davidson star as well as take cues from their lives and personalities. This isn't a play-by-play retelling, though. It doesn't claim to bring anyone faithfully and exactly to the screen. But it understands the truth of dealing with trauma, and its fallout and damage, making that plain vividly and with unflinching commitment. "Death, silence, hate" is this duo's personal spin on "live, laugh, love", they jest in a joking-but-not-joking way in-character; Such Brave Girls gets everyone giggling at the idea, but also backs it up. Making their TV acting debuts together — Sadler has previously written for Frankie Boyle's New World Order, Joe Lycett's Got Your Back and more — Sadler and Davidson also play siblings. Josie and Billie, their respective on-screen surrogates, are navigating life's lows not only when the show's six-episode first season begins, but as it goes on. The entire setup was sparked by a phone conversation between the duo IRL, when one had attempted to take her life twice and the other was £20,000 in debt. While for most, a sitcom wouldn't come next, laughing at and lampooning themselves, plus seeing the absurdity, is part of Such Brave Girls' cathartic purpose for its driving forces. If you've ever thought "what else can you do?" when finding yourself inexplicably chuckling at your own misfortune, that's this series — this sharp, unsparing, candid, complex and darkly comedic series — from start to finish. As well as creating the show and penning it, Sadler leads it as Josie, a bundle of nerves and uncertainty that's always earning Billie and their mother Deb's (Louise Brealey, Lockwood & Co) brutal honesty rather than sympathetic support. She's in her twenties, struggling with her mental health and aspiring to be an artist — but, above any firm sense of a career or a dream, she's largely working through a never-ending gap year as she tries to get through day after day. She receives a paycheque from a bookstore job that she abhors, usually while catching her colleagues off guard with her anecdotes. After hours, Josie's doting boyfriend Seb (Freddie Meredith, A Whole Lifetime with Jamie Demetriou) awaits — hovers at her side, pleads for sex and moves in without anyone telling her, to be precise — but she's certain that she's queer and only passionate about bartender Sid (Jude Mack, I Hate Suzie). Davidson's Billie is the eternally optimistic opposite of her sister — albeit really only about the fact that Nicky (Sam Buchanan, Back to Black), the guy that she's hooking up with, will stop cheating on her, fall in love and whisk her away to Manchester to open a vodka bar bearing her name. There's nothing that she won't do to make that happen, whether it means bleaching her hair to look identical to her competition (Carla Woodcock, Tell Me Everything) or agreeing to be Nicky's cover when he's busted at a nightclub for drugs. The other thing that Billie has an unwavering belief in, to a delusional degree: that their dad, who went out for teabags a decade ago and never came home, has just gotten lost at the shops because it rearranges its aisles all the time. Both girls live with the exasperated Deb, who also sees a relationship as the solution to her problems, setting her sights on the iPad-addicted Dev (Paul Bazely, Dungeons & Dragons: Honour Among Thieves). She's saddled with debt thanks to Josie and Billie's father going AWOL, and has picked her latest paramour as a path to financial stability thanks to his sprawling house alone. So, when she's not sternly advising her daughters to settle for what's easiest — "I know it's hard, but as you get older, you learn to love with less of your heart — less and less until eventually there's nothing left anymore" is one such piece of guidance; "work isn't about fulfilment, it's just so you can buy stuff to make you feel fulfilled" is another — she's telling them not to do anything to jeopardise what she considers the best chance they've all got as a family for a solvent future. With actor-slash-director Simon Bird behind the lens — alongside first-timer Marco Alessi on one episode — if Such Brave Girls seems like it belongs in the same acerbically comedic realm as The Inbetweeners and Everyone Else Burns, there's clearly a reason for that, too. That said, in its mix of humour and bleakness, alongside its dedication to diving headfirst into the messy existences of its three key female characters, it's also in Fleabag's wheelhouse. Nothing is too grim to find guffaws in, though, whether it's depression, existential malaise, suicide, termination, abandonment, daddy issues, death, grief, narcissism, infidelity or realising how much about life is simply learning to stomach disappointment. Call it searing, call it ruthless, call it insightful, call it hilarious: each one applies. Here's another "here's hoping" for Such Brave Girls' audience to put out into the world: here's hoping that there's more to come. Actually, here's yet one more: here's hoping that this is the start of big on-screen comedy careers for the show's sisters, who bring such a layered rapport to Josie and Billie that viewers who don't know that they're genuinely related will guess quickly, and who deliver masterclasses in comic timing again and again in the process. Brealey, who has Sherlock, A Discovery of Witches and Back also to her name, might appear to have a hard task, then, playing a convincing mum to real-life siblings. But Such Brave Girls doesn't just feel blisteringly authentic, even at its most ridiculous, whenever Sadler and Davidson are in the spotlight; it's that unvarnished with everyone. Check out the trailer for Such Brave Girls below: Such Brave Girls streams via Stan.
At the Art Gallery of New South Wales, 2024 started with Kandinsky and Louise Bourgeois exhibitions, all carrying over from 2023. Now that the middle of the year has hit, the Sydney institution has thrown over its walls to another massive art name: Alphonse Mucha. The Czech-born painter and illustrator is virtually synonymous with Paris in the art nouveau period in no small part thanks to posters for French stage actor Sarah Bernhardt in the late-19th and early-20th centuries — and Alphonse Mucha: Spirit of Art Nouveau, AGNSW's big winter showcase, is dedicated to his work. In an exclusive-to-Sydney display that opened on Saturday, June 15 in Naala Badu, the gallery's north building, and runs until Sunday, September 22, Australian audiences can now step through why Mucha's art is so influential. Whether they're devoted to a theme, a movement or a specific artist, every exhibition tells a story, with this one exploring the two parts of its name: a man who gave an era its look and the aesthetic that he helped immortalise. This isn't a small step through all things Mucha, with more than 200 items featured. Alphonse Mucha: Spirit of Art Nouveau is the most-comprehensive showcase of the artist's work that the country has ever seen, in fact. And yes, posters for Bernhardt and others are among the pieces on display, alongside illustrations, photographs, sculptures, jewellery and interior decoration. Surveying Mucha's five-decade career, created in collaboration with the Mucha Foundation in Prague and featuring works from the Mucha Family Collection, Alphonse Mucha: Spirit of Art Nouveau also includes a digital component, with painting cycle The Slav Epic from 1912–26 — a piece that spans 20 canvases — getting the immersive treatment. AGNSW is also pairing works by Mucha with Japanese prints sourced from its ukiyo-e collection that date to the same period that Mucha was in Paris, plus band posters and record covers from the 60s and 70s, as well as manga from more recently, that demonstrate his ongoing influence. "Alphonse Mucha was one of art's great stylistic innovators, and whilst best known for his iconic posters and decorative designs that contributed to the development of art nouveau, we hope this truly comprehensive exhibition will offer audiences the chance to take a deeper look at the remarkable life of this fascinating artist and his humanistic ideals," said AGNSW Director Michael Brand. "We are grateful to the Mucha Foundation for their generosity in lending these treasures to allow audiences here in Sydney the chance to discover an exhibition not only rich in art but also in history, human achievement and political commitment." Alphonse Mucha: Spirit of Art Nouveau displays at the Art Gallery of New South Wales, The Domain, Sydney from Saturday, June 15–Sunday, September 22, 2024. For more information, visit the venue's website. Images: installation view of the 'Alphonse Mucha: Spirit of Art Nouveau' exhibition at the Art Gallery of New South Wales, 15 June – 22 September 2024, photo © Art Gallery of New South Wales, Diana Panuccio.
From fancy jigsaw puzzles to cheese and charcuterie sets and whisky subscriptions, we're (thankfully) able to get a whole heap of entertaining and edible packages delivered to our doors during lockdown. The latest to launch is a big win for boba fans across the country: The Bubble Tea Club. While lots of bubble tea shops are delivering ready-to-drink boba, these DIY bubble tea sets mean you can make yourself a tea — whenever the whim hits. The Bubble Tea Club is delivering packs in eight different flavours (and 14 different toppings) all across Australia. You can get the classic milk, taro or Thai tea or go fruity with honeydew, mango, green apple, passionfruit or lychee. Toppings include the likes of coconut jelly, grass jelly, lychee popping pearls, aloe vera and red bean paste — and tapioca pearls, of course. Packs start with five serves (from as little as $20.95) and ten ($34.95) and go all the way up to 50 ($99.95) and 365 serves ($800) — because, face it, who doesn't want a boba a every day. Inside the packs, you'll find premium tea leaves, flavourings, toppings and wide straws (with reusable options available). Depending on how many you buy, the packs work out to as little as $2.19 a serve. And shipping is a $9.95 flat rate or free if you spend over $59. You can, of course, attempt to make your own boba pearls at home, too, but this is a lazy (and easy) version if you're not feeling quite that motivated. You can now order DIY bubble tea set from The Bubble Tea Club website.
Something delightful has been happening in cinemas in some parts of the country. After numerous periods spent empty during the pandemic, with projectors silent, theatres bare and the smell of popcorn fading, picture palaces in many Australian regions are back in business — including both big chains and smaller independent sites in Sydney, Melbourne and Brisbane. During COVID-19 lockdowns, no one was short on things to watch, of course. In fact, you probably feel like you've streamed every movie ever made, including new releases, Studio Ghibli's animated fare and Nicolas Cage-starring flicks. But, even if you've spent all your time of late glued to your small screen, we're betting you just can't wait to sit in a darkened room and soak up the splendour of the bigger version. Thankfully, plenty of new films are hitting cinemas so that you can do just that — and we've rounded up, watched and reviewed everything on offer this week. TITANE Eye roll-inducingly terrible bumper stickers be damned; no one honks if they're horny in Titane. Revving when aroused is more this petrol-doused body-horror film's style, spanning characters both flesh and chrome. When she's seen writhing in fishnets atop a flame-adorned vintage Cadillac, the stony-gazed Alexia (debutant Agathe Rousselle) is working. She's titillating a Fast and Furious-style car crowd with her sexed-up display, but the car model still seems to hum with every gyration. After wrapping up, murdering a grab-happy fan with the metal chopstick keeping her hair up and then showering off the gooey, gory evidence, she's soon purring rhythmically inside that gleaming vehicle. Yes, in a plot detail that spilled the instant Titane premiered at this year's Cannes Film Festival, where it won the prestigious Palme d'Or, this is the French car sex flick. How does someone fornicate with an automobile? Not inside or on the waxed hood, but copulating with the vehicle itself? That's one of this pumping piston of a movie's least interesting questions, although Titane does go there. In her sophomore effort after the also-phenomenal teen cannibal film Raw, writer/director Julia Ducournau isn't too interested in those specifics. She splashes the bouncy sex scene across the screen with lights flashing, human and motor pulsating as one, and pleasure seeping like exhaust fumes, but it's hardly the picture's only point of interest. Titane isn't the first feature to flirt with carnality and cars — Ridley Scott's The Counsellor had a gas-fuelled rendezvous less than a decade ago; Crash, from body-horror godfather David Cronenberg, is also steeped in automotive eroticism. But Ducournau's addition to the parking lot shrewdly links mechanophilia with agency and control, particularly over one's feelings and body. First, before cylinders start lustily thrusting, Titane finds the initial growls of Alexia's four-wheeled fascination via a quick race through her childhood. As a seven-year-old (fellow first-timer Adèle Guigue), she enjoys audibly rumbling along with the engine. She also likes kicking the chair in front of her, exasperating her dad (French filmmaker Bertrand Bonello, director of Nocturama and Zombi Child) into an accident. For her troubles, she gets a plate of the titular element inserted in her cracked skull. That steely stare matches the alloy in her head even then. From the outset, Ducournau pairs blood and metal, reshaping her central figure while laying bare her vulnerabilities. She kicks her film into a gear it'll keep shifting into again and again, too, because this is a movie about modifications: physically, emotionally and while trying to claim one's own sense of self. Titane isn't just the French car sex film, clearly. It isn't merely a car sex movie about a woman partly forged from titanium, and with a penchant for piercing her way through those who block her road. Nor is it simply the French car pregnancy flick, with Alexia and the Caddy's tryst bearing fruit — a condition she tries to conceal, especially after more deaths lead her to Vincent (Vincent Lindon, At War), a fire chief who takes her in as his long-missing son. If Ducournau had made her script out of metal, she'd be moulding it in its molten form. She'd be letting it bubble; key to Titane's blistering appeal is its eagerness to let things boil, then brim over, because the feelings and ideas it works with are that scorching. If her feature was a car instead, it'd be that libidinous, fire-emblazoned Cadillac, which arrives with a bang, lures Alexia in and then lets loose. Read our full review. VENOM: LET THERE BE CARNAGE What's more ludicrous in Venom: Let There Be Carnage: an alien invasion of one man's body that turns into a parasite-host odd-couple show, or a prologue that thinks Woody Harrelson could've been a 90s teen? Kudos to this sequel to 2018's Venom for starting how it means to go on, at least. With its opening, set in 1996 in a home for unwanted children, the film doubles down on silliness, overblown theatrics and packaging itself as a cartoonish lark. The goofiness of the original box-office hit was among its best traits, and worked because that ridiculousness rattled against the movie's gritty superhero setup. Venom adopted all the stylistic markers that've become the serious-minded caped-crusader formula, then let Tom Hardy bounce around like he was in a comedy. But this time, everyone's gone more than a little vaudeville, as has the movie — and the outcome is right there in the title. Carnage isn't just an apt term to describe the film, which has actor-turned-director Andy Serkis (Mowgli: Legend of the Jungle) behind the lens; it's also the name of its second symbiote, aka a flesh-munching extra-terrestrial who inhabits a bag of bones, then brings out its basest urges. Mercifully, Let There Be Carnage isn't big on rehashing the mechanics established in the initial flick, but Venom fits the bill, too, after the creature took up residence inside San Francisco journalist Eddie Brock (Hardy, Capone), then unleashed the franchise's one-body, two-personality double act. Carnage, the red-hued parasite, is the spawn of Venom, albeit bursting forth from condemned serial killer Cletus Kasady (Harrelson, Zombieland: Double Tap) after a scuffle with Brock. And yes, this is the kind of feature that has the scenery-chewing Harrelson proclaim its subtitle with glee. He bellows "let there be carnage!" with winking jokiness, but resembles a ringmaster announcing the next act in a big top. Scripted by returning scribe Kelly Marcel, who also mined Fifty Shades of Grey for all the humour she could — and using a story co-credited to Hardy, who clearly has an attachment to his Marvel-but-not-Marvel Cinematic Universe character — Let There Be Carnage isn't burdened with much plot. After getting murderous following his separation from girlfriend Frances Barrison (Naomie Harris, No Time to Die) in their youth, Kasady will only tell his tale to Brock before he's executed. The latter goes awry due to Carnage's arrival, and a deal. The new symbiote will reunite Kasady with Barrison, whose ability to manipulate sound has seen her locked in an asylum, if the sadistic criminal assists his havoc-wreaking passenger to dispense with Brock and Venom. Cue the obvious — yes, carnage — and an inevitable showdown. Harrelson wasn't an adolescent in the 90s, but his performance nods to that decade, back when his resume spanned White Men Can't Jump, Natural Born Killers, The People vs Larry Flynt, EDtv and the like. That isn't a compliment; he's simply summoning-slash-parodying that heyday, and he's in a film that wishes it released then. Indeed, Let There Be Carnage could've been the hit of 1993, 1999 or any other year before Christopher Nolan's Batman trilogy reshaped the genre, the MCU turned it into one of the predominant forms of big-screen entertainment (and now small screen, too), and superhero flicks began arriving every few weeks. Really, Harrelson's work here feels like a chaotic distraction rather than a throwback nudge, because there's only one great thing about Let There Be Carnage: Tom Hardy arguing with himself Read our full review. BAD LUCK BANGING OR LOONY PORN Banging is the certainly word for it; when Bad Luck Banging or Loony Porn begins, it's with high school teacher Emi (Katia Pascariu, Beyond the Hills) and her camera-wielding husband Eugen (first-timer Stefan Steel) having loud, enthusiastic, pink wig-wearing sex — and filming it. Romanian writer/ director Radu Jude (I Do Not Care If We Go Down in History as Barbarians) shows the explicit three-minute snippet of footage as others will see it, because others will indeed see it: the students at Emi's school, their parents and her fellow teachers among them. All genitalia and thrusting and lustful talk (and shouted queries through the door from whoever is looking after the couple's child), this graphic opening also makes a bold and firm statement. So many people within the film's frames will take issue with it as vocally as Emi and her partner are enjoying themselves — and they're unmistakably enjoying themselves — but Jude definitely isn't one of them. 2021's Berlinale Golden Bear-winner, Bad Luck Banging or Loony Porn also starts with a gleeful provocation — not just to those seeing Emi and Eugen's home video within the movie, but to Jude's viewers. It's a jolting opening that's exactingly orchestrated to make audiences react, then unpack their own instant reflexes in tandem with the rude on-screen posse that may as well be waving pitchforks. The underlying question: to those who object, what makes this raunchy romp between two consenting adults so shocking? Worse exists on the internet en masse all the time, so is it its unexpected arrival? Within the picture, is it the fact that Emi is a teacher, a woman or that she's unapologetic, too? Both queries speak to ideas long internalised about what we see where, who we allow to do what, and the power that comes from enforcing arbitrary and hypocritical judgements about supposed immorality and obscenity. Indeed, loving, animated, costumed and sex toy-aided intercourse between a married couple in the privacy of their own home is the nicest thing that graces Bad Luck Banging or Loony Porn — until the feature's glorious climax, that is. What follows the intimate clip is a razor-sharp satire of a world that's so indifferent to so much ghastliness and so often, yet remains so unaccepting of carnality and so quick to use it as a reason to unbridle our worst sniping impulses. The film wields that notion as a weapon, all as Emi and Bucharest's other residents also navigate the pandemic. Jude could've set his scorching feature at any time, but overtly drawing attention to the daily behaviour that's been accepted while the globe battles a decimating virus — and the fact that some here would rather fixate on a different and trivial kind of viral spread — makes a blunt but perceptive point. Accordingly, in the cinema verite-style first section, Emi rushes around the city on foot, going about an ordinary day that morphs into anything but. Actually, given that she learns of the sex tape backlash while surrounded by everyday hostilities and vulgarities, this chapter reinforces an ugly truth: that the performatively horrified responses from the parents of Emi's students are all too routine. Then, Bad Luck Banging or Loony Porn's second act unleashes scathing and playful cine-essay snippets about the country's past, the planet's present, human behaviour — often at its most atrocious — and how porn is used as both a scapegoat and an anaesthetic. Lastly, a mask-wearing Emi is interrogated and publicly humiliated by parents and teachers, their punitive savagery and blatant sanctimoniousness on full display. Read our full review. THE UNFORGIVABLE There's a sense of symmetry to the fact that Netflix drama The Unforgivable marks Sandra Bullock's first movie in three years — since she last graced the big screen in Ocean's 8 and also starred in the streaming platform's hit Bird Box, both in 2018. After winning her Best Actress Oscar back in 2009 for The Blind Side, Bullock has appeared on-screen sparingly, featuring in just seven films over that period; however, when she puts in a phenomenal performance, she's as excellent as ever. In The Unforgivable, she does haunted, dead-eyed and determined like it's second nature, playing against-type as a woman just released from prison after a 20-year stint for murder. That said, she's also one of the best things about a movie that's almost everything else enough — serviceable-enough, watchable-enough, engaging-enough, compelling-enough — as it tracks an overstuffed redemption quest. Bullock's Ruth Slater has had two decades to stew on the incident that sent her to prison: the killing of a sheriff (W Earl Brown, No Man of God) who was trying to evict her and her then five-year-old sister Katie (Neli Kastrinos, Yellowjackets) from their family's farmhouse following their father's suicide. Upon getting out, she's warned by her parole officer (Rob Morgan, The United States vs Billie Holiday) about the difficulties of reintegrating back into normality, but finding her sibling (Aisling Franciosi, The Nightingale) is the sole thing on her mind. That's complicated by Katherine's lack of memory of anything before her adoption, and her protective new parents (Succession's Linda Emond and The Comey Rule's Richard Thomas). And, while there's enough meat in that family reunion saga for the film's plot, that's only one of its threads. Screenwriters Peter Craig (Bad Boys for Life), Hillary Seitz (Eagle Eye) and Courtenay Miles (Mindhunter) have adapted The Unforgivable from three-part 2009 UK TV series Unforgiven; hence the jam-packed storyline that feels as if it's unwilling to trust that just one or two of its subplots could garner an emotional response. Also included: the stigma of life as a convicted cop-killer, a label that follows Ruth's every move; the sheriff's now-grown sons (Wonder Wheel's Tom Guiry and Dickinson's Will Pullen) and their revenge plans; a tentative connection with a colleague (Jon Bernthal, The Many Saints of Newark) at the fish factory where she works nights; the couple of well-off lawyers (The Suicide Squad's Viola Davis and Godfather of Harlem's Vincent D'Onofrio) who now live in the Snohomish County home that started all her trouble; and a secret that Ruth's been carrying for years. Davis is sorely underused, but also exceptional in her few scenes, carving out as much space as she can in a film that always seems hurried. There should be urgency to The Unforgivable, of course, given Ruth's desperate focus on reconnecting with her sister, but there's a sensation of rushing rather than immediacy. Still, thanks to her two biggest female names — with one yearning yet closed off, and the other segueing from affronted to understanding, Bullock and Davis' scenes together are repeated highlights — filmmaker Nora Fingscheidt (System Crasher) ensures that neither tension nor intensity is lacking in her English-language debut. With cinematographer Guillermo Navarro (Dolittle), she also smartly mines the parallels between Seattle's grey climes and the many shades in Ruth's restarted life, but The Unforgivable still never manages to quite match its best elements. BEST SELLERS Best Sellers is the latest case of casting-by-internet, or so it seems, at least: pairing up Aubrey Plaza and Michael Caine smacks of a feverish film Twitter dream. They both turn in fine performances, too, with the former coming off career-best work in Black Bear to play independent publishing house editorial director Lucy Stanbridge, and the latter getting a meatier role than his last Christopher Nolan-directed bit-part (that'd be Tenet) as cantankerous writer Harris Shaw. Lucy needs a big bestseller to save the business, which she took over from her father. Harris has been typing out manuscripts for the five decades since his sole success, which made the elder Stanbridge, but hasn't submitted the one he's under contract for to the company. Enter Lucy's solution to her pressing problem, and one that the reclusive Harris only goes along with because he's short on cash. Knowing how Best Sellers will turn out is as easy as knowing which marks the always-likeable Plaza and Caine usually hit. Indeed, it's knowing why their team-up instantly sounds like a winner on paper — she's acerbic, albeit in a slightly lighter mode than seen in her breakthrough Parks and Recreation role, while he relishes being a curmudgeonly, outdated drunk who yells "bullshite!" so much that it's soon a viral catchphrase. There's plenty to like about their scenes together, especially when sweetness seeps into the surrogate grandfather-granddaughter bond that develops while Lucy and Harris are on tour spruiking his new book anywhere and everywhere they can. In their solo moments, they both find rich notes of yearning and melancholy in their unlikely duo, too, cementing the film's tender but comic look at odd-couple kindred spirits. Nevertheless, while boasting its own shelf of charms, Best Sellers is more standard than stellar. Mostly, actor-turned-directing first-timer Lina Roessler and screenwriter Anthony Grieco, a fellow thespian-turned-debutant, remain happy doing the minimum — which is understandable when you have Plaza and Caine leading the show, but keeps the film from cutting as deeply as it could. There's hints of savvy savageness in Harris' rallying against the literary world, the commerce of publishing and everything that comes with being a celebrity, although it always sticks to the expected. The same applies in Lucy's willingness to rethink the usual relationship between art and money in order to get the new book, The Future Is X-Rated, to strike a chord with readers as the pair make dive bars their offices on their cross-country road trip. A movie can be nice and neat at once, and for one to be a pro while the other proves a con — and this is one of those movies. Even though it could've been so much more, Roessler's feature is an easy, undemanding and cosy watch, and its soft hues ensure that feeling remains as plain as an all-caps book cover. Best Sellers is also far too eager to stick to cliches, including that aforementioned gentle visual approach, which feels bluntly tailored to the weekday matinee crowd. Time might be against them — he's 88 now, and made it sound as if he might be done with acting while doing real-life promotional duties for Best Sellers, although he then walked that back — but here's hoping that Plaza and Caine get a second on-screen chance. Their first collaboration definitely whets the appetite for more; in fact, that's the firmest imprint it leaves. STRAY In gorgeous and glorious 2016 documentary Kedi, Istanbul's stray cats received their moment in the cinematic spotlight, and also expressed much about the Turkish city and its human inhabitants in the process. The result was perfect — purrfect, even — regardless of whether you're normally a feline fan. Indeed, it's the defining movie about mousers, and also about their relationship with both places and people (even trying to put the likes of Garfield, Cats, A Street Cat Named Bob and its sequel A Christmas Gift from Bob, some of cinema's other go-to kitties, in the same company is thoroughly pointless). With Stray, it's now their canine counterparts' time to shine, so animal-adoring film lovers can spread their love between cats and dogs equally. Where Kedi elicited purrs of elation, this dog-centric delight is a piece of tail-waggingly tender and thoughtful cinema, too. Istanbul isn't just an arbitrary choice of setting for this compassionate film; it has a 'no kill, no capture' law when it comes to the dogs roaming its streets, which is why there's more than 100,000 of them scampering around. That leaves documentarian Elizabeth Lo spoiled for choice, but she only spends time with a few of those woofers. They span street veterans Zeytin and Nazar, both of whom prowl the pavement as comfortably as they would someone's home, as well as puppy Kartal. As they sniff and scurry their way through their days, Lo stitches together a perceptive and textured portrait of their lives, of the city around them, and of the people who help and are helped by them — and, just like in Kedi (which she wasn't affiliated with at all), there's plenty of two-legged Istanbulites who prove forever changed by these canines' presence. Here, there's a group of young street-dwelling Syrian refugees that are especially touched by Zeytin, Nazar and Kartal as well. Making her first full-length film after a background in doco shorts, the director/cinematographer/editor lets her four-legged subjects be the stars, even though humans are an inescapable part of their existence. Lo is also happy to let her audience observe her furry heroes. More than that, she frequently places the camera at canine height so that viewers feel as if they're seeing the world through a dog's eyes, or getting as close as they can (far closer than simply watching your own pet on a home video, for instance). Forget saccharine Hollywood flicks that use that idea as a gimmick (see: A Dog's Purpose and A Dog's Journey — or, better yet, don't see them because they're terrible). In Stray, immersion and insight are the key aims. And, they're feats that the soulful and contemplative movie repeatedly, patiently and ruminatively delivers. The result is a doggie treat of a crisply lensed doco, and one of the biggest joys of both Kedi and Stray alike is the sensory experience that comes with their on-the-ground approach. Neither movie merely wants to just show audiences how their chosen animals live, but to convey as much detail as possible — which is where that canny camerawork, and also the feature's naturalistic soundscape, barks loudest. Some elements of Stray do strive a little too hard to resonate, though, such as its philosophical quotes about dogs and composer Ali Helnwein's score. But just as it's impossible to begrudge a pooch for being too energetic, it's difficult to fault a film this shrewd, earnest and heartfelt about the crucial role that canines inhabit in human civilisation, the many ways we benefit, and the sheer magic of a pure pupper-people connection. CRY MACHO Clint Eastwood has already had his animal phase, thanks to 1978's Every Which Way but Loose and 1980's Any Which Way You Can. At the age of 91, he's already had almost every phase in his career he's going to both in front of and behind the lens. Still, with Cry Macho, he takes the road already well-travelled by seemingly every other on-screen action star and tough guy. Eastwood has been far more than that across his filmography, but he's now buddying up with a child as everyone from Arnold Schwarzenegger and Vin Diesel to Dwayne Johnson and Liam Neeson have before him. Indeed, Cry Macho overtly resembles one of the latter's most recent movies, The Marksman, which only hit cinemas earlier in 2021. It stemmed from a former Eastwood collaborator, in fact, and felt like it should've starred him — which leaves his latest following in its footsteps. They aren't impressive footsteps to retread, although Eastwood and screenwriter Nick Schenk (a veteran of the actor/director's Gran Torino and The Mule) help imbue their feature with more depth than its predecessor. Their approach is straightforward and easy, yet it works, in no small part because seeing Eastwood stride across the frame always brings his wealth of prior roles to mind. Cry Macho leans into and toys with that past. That's an apt move in another way, given that this film could've been made with this star/helmer in the 80s, but he passed on it. Schwarzenegger also cycled in and out of the project a decade ago, but it seems this movie needed to wait for Eastwood. The throwback vibe it sports — that comes as much from it being penned by N Richard Nash in the 70s, rejected as a screenplay, then turned into a novel, as from being set in 1979 and 1980. A rodeo star whose life changed via injury (his own) and tragedy (losing his wife and son), Mike Milo (Eastwood) is content enough with his quiet twilight years. Alas, his old boss Howard (country singer Dwight Yoakam) now says that the cowboy owes him a favour. The rancher's teenage son Rafo (Eduardo Minett, La rosa de Guadalupe) apparently needs rescuing from his mother (Fernanda Urrejola, Party of Five), and Mike is the man reluctantly tasked with travelling to Mexico City to carry out the job. Unsurprisingly, the situation isn't as clearcut as Howard contends, with corrupt Federales, car thieves and other unhappy strangers on their path all muddying the road home even further. But a forced stopover in a small town, where cantina owner Marta (Natalia Traven, Soulmates) becomes the new female influence in their lives, helps forge a rapport. There's also a rooster called Macho, which is Rafo's best friend and his source of income via cockfighting — and the reason that Eastwood growls out the line "if a guy wants to name his cock Macho, that's fine with me". Mike doesn't take to the fowl at first but, of course, his way with animals is one of his defining traits. Cry Macho's chief struggle — its balance of what gleams and what's trite — shines through in this rooster relationship. There's something moving in the bond that obviously forms between Mike and Macho, as it does between Mike and Rafo, but it's also happy to be overly mawkish. The film looks the sun-drenched western part, and Eastwood plays his own part with grizzled grace; however, those uneasy balancing acts just keep popping up. Here, reflecting on what it really means to be macho and a hero goes hand in hand with writing off sexually confident women and having the movie's two primary female characters basically throw themselves at Eastwood, for instance. PALAZZO DI COZZO If Franco Cozzo was to spruik Palazzo Di Cozzo the same way he's promoted his baroque furniture business over the decades, he'd likely repeat one phrase: "grand documentary, grand documentary, grand documentary." He'd do so because that's what he's known for, and because his ads peppered with "grand sale, grand sale, grand sale" are a part of Melbourne's history, even inspiring a single that hit the charts. On the city's TV screens, Cozzo has been the face of his eponymous homewares store, so much so that he's a local celebrity. His lively exclamations fill much of this doco, too, through archival clips, observational footage of him at work and a to-camera interview. In the latter chat, he sits on one of the ornate chairs he's made a fortune selling, and answers interview questions like he's holding court — and for Melburnians familiar with his name and citywide fame, and for the uninitiated elsewhere, Palazzo Di Cozzo explains both the reason he's regarded as such a prominent personality. Written and directed by feature-length first-timer Madeleine Martiniello (The Unmissables), the result is a film about the hardworking jump its subject took from arriving in Australia from Sicily in 1956 to becoming part of the cultural fabric of his new home. Speaking about the mural painted of Cozzo in Footscray, graffiti artist Heesco notes that his tale is "the migrant dream"; however, while this affectionate film happily stresses that point, it also blissfully takes the easiest route. As a straightforward chronicle that covers the basics — who Cozzo is, what he's done, and also where, when, why and how — Palazzo Di Cozzo ticks the expected boxes in an informative and engaging-enough fashion. It tracks his story from making the move to Melbourne by boat and starting out as a door-to-door salesman, through to his 70s and 80s heyday, his frequent media presence, and his standing today. It lets his personality lead the way, too. And, the film also spends some of its early moments chatting to people who've decked out their houses with his wares, or watched their parents to do the same, to underscore what the rococo aesthetic has meant to Italian expats as an opulent slice of home. But even when one interviewee is in tears recounting how hard her mum and dad must've worked to spend $17,000 on Cozzo furniture in the 70s, there's always a sense that Palazzo Di Cozzo isn't scratching as deep as it should. The documentary doesn't avoid moments that Cozzo would rather forget, and even shows him getting irate when questioning heads in a direction he doesn't like; however, it also indulges rather than interrogates the persona that's leapt up around him over the years. Cue too many instances of people parroting his style of English back to him, and indulging a cartoonish stereotype — and very little effort to understand why that's the image Cozzo chose, what his popularity for playing that part says about Australia and its attitudes towards migrants, and also what the nostalgia afforded his way now says as well. Palazzo Di Cozzo is now screening in Sydney and Melbourne after opening in Brisbane earlier in the year when New South Wales and Victoria were in lockdown. If you're wondering what else is currently screening in Australian cinemas — or has been lately — check out our rundown of new films released in Australia on July 1, July 8, July 15, July 22 and July 29; August 5, August 12, August 19 and August 26; September 2, September 9, September 16, September 23 and September 30; October 7, October 14, October 21 and October 28; and November 4, November 11 and November 18. For Sydney specifically, you can take a look at out our rundown of new films that released in Sydney cinemas when they reopened on October 11, and what opened on October 14, October 21 and October 28 as well. And for Melbourne, you can check out our top picks from when outdoor cinemas reopened on October 22 — and from when indoor cinemas did the same on October 29. You can also read our full reviews of a heap of recent movies, such as Herself, Little Joe, Black Widow, The Sparks Brothers, Nine Days, Gunpowder Milkshake, Space Jam: A New Legacy, Old, Jungle Cruise, The Suicide Squad, Free Guy, Respect, The Night House, Candyman, Annette, Shang-Chi and the Legend of the Ten Rings, Summer of Soul (...Or, When the Revolution Could Not Be Televised), Streamline, Coming Home in the Dark, Pig, Big Deal, The Killing of Two Lovers, Nitram, Riders of Justice, The Alpinist, A Fire Inside, Lamb, The Last Duel, Malignant, The Harder They Fall, Roadrunner: A Film About Anthony Bourdain, Halloween Kills, Passing, Eternals, The Many Saints of Newark, Julia, No Time to Die, The Power of the Dog, Tick, Tick... Boom!, Zola, Last Night in Soho, Blue Bayou and The Rescue.
Another week, another cookie pie. That's how it feels sometimes thanks to Gelato Messina's beloved desserts — and no, we're not complaining. After the gelato chain first introduced its cookie pies to the world in 2020, it has kept bringing the OTT dessert back. We all need an extra dose of sweetness every now and then, obviously, including while both Sydney and Melbourne are in lockdown. So, it should come as no surprise that Messina is serving up the decadent dessert yet again. This time, though, it's quite the Frankenstein's monster of a dessert. This version is also a returning favourite — and, if you like fairy bread, cookie pies and Messina's gelato, prepare to get excited. Hang on, a cookie pie? Yes, it's a pie, but a pie made of cookie dough. And it serves two-to-six people — or just you. You bake it yourself, too, so you get to enjoy that oh-so-amazing smell of freshly baked cookies wafting through your kitchen. Now that you're onboard with the overall cookie pie concept, the fairy bread version really is exactly what it sounds like. That crunchy, crumbly cookie dough is filled with milk and dark Messina chocolate chunks, as well as vanilla custard. It's then topped with more 100s and 1000s than you've probably seen since your childhood birthday parties. It wouldn't be a fairy bread version otherwise, of course. You can only buy this pie in kits, which means that you'll get some of the cult ice creamery's famed gelato along with it. You can opt for a 500-millilitre tub for $38, a one-litre tub for $44 or a 1.5-litre tub for $48. If you're keen to get yourself a piece of the pie, they're available to preorder from 9am on Monday, July 19 — with pick up between Friday, July 23–Sunday, July 25 from your chosen Messina store. Once you've got the pie safely home, you just need to whack it in the oven for 30 minutes at 160 degrees and voila. You can preorder a Messina fairy bread cookie pie from Monday, July 19, to pick up from all NSW, Vic and Queensland Gelato Messina stores except The Star.
The Harbour City doesn't lack art highlights all year, every year, but every two years the New South Wales capital plays host to the Biennale of Sydney. 2024 will be one such year, with a hefty lineup in store under the theme Ten Thousand Suns. Wondering where you'll be going, which artists will be providing works and what events you'll be hitting up? March might still be almost half a year away, but the Biennale has unveiled more 2024 details. Art fans had already learned that everything will revolve around Ten Thousand Suns next year. The first 39 artists that'll be reflecting on the topic had been named as well, and the fact that White Bay Power Station will open to the public for the first time in over a century for the Biennale had similarly been announced. Now comes more creatives, places and specific events, all taking over Sydney — and for free — from Saturday, March 9–Monday, June 10, 2024. [caption id="attachment_910495" align="alignnone" width="1920"] Mr. Cuddles Under the Eave (2021). Trevor Yeung. Pachiras, straps, 7 x 8 x 8m. Photography: South Ho. Courtesy the artist and Blindspot Gallery, Hong Kong.[/caption] Contributing pieces: 88 artists and collectives from 47 countries. Australia is represented, of course, as is everywhere from Aotearoa New Zealand, Indonesia, India and Japan to Ukraine, Brazil, Mexico, the UK and the US. International talents include Andrew Thomas Huang, Adebunmi Gbadebo, Pacific Sisters, Martin Wong, Frank Moore, Maru Yacco and Anne Samat. Among the Aussies: Gordon Hookey, Tracey Moffatt, Serwah Attafuah, William Yang, VNS Matrix, Kirtika Kain, Joel Sherwood Spring and Juan Davila. Also, 14 First Nations artists have been commissioned by Fondation Cartier pour l'art contemporain, one of the Biennale's partners, to make new works just for the event: Mangala Bai Maravi, Doreen Chapman, Megan Cope, Cristina Flores Pescorán, Freddy Mamani and Dylan Mooney, as well as Orquideas Barrileteras, John Pule, Eric-Paul Riege, Darrell Sibosado, Kaylene Whiskey, Yangamini, and Nikau Hindin in collaboration with Ebonie Fifita-Laufilitoga-Maka, Hina Puamohala Kneubuhl, Hinatea Colombani, Kesaia Biuvanua and Rongomai Gbric-Hoskins. [caption id="attachment_924219" align="alignnone" width="1920"] Ethics, 2021. Oil on canvas. Triptych: 244 x 183 cm; 120 x 120 cm; 244 x 183 cm. Courtesy of the artist and Milani Gallery, Meeanjin / Brisbane. Photography credit: Carl Warner.[/caption] Expect to enjoy Mooney's mural tribute to Malcolm Cole, the queer queer First Nations dancer and activist who created history by leading the first-ever Aboriginal float at the Sydney Gay and Lesbian Mardi Gras Parade in 1988 — and also Sibosado's riji (aka pearl shell) designs in neon. Both will feature at White Bay Power Station, as will VNS Matrix's exploration of women and technology via banners. Chau Chak Wing Museum joins the Biennale of Sydney footprint for the first time, which is where Mangala Bai Maravi and Wong will feature pieces — one continuing to preserve tattooing patterns used by her people, India's Baiga group; the other being celebrated posthumously with nine paintings that focus on queer sexuality, as well ethnic and racial identities. At White Bay Power Station and Artspace, Indigenous weaving and jewellery making will be in the spotlight via Riege. Also at the latter venue, Gbadebo will display new ceramic works that continue her interrogation of her family's past and America's history of slavery. And over at the Art Gallery of NSW, Hookey and Yacco will have works on offer. The lineup also spreads over to the Museum of Contemporary Art Australia, which is where pieces by Moore and Kain will feature — and to UNSW Galleries, where Sherwood and Elyas Alavi will be found. Whoever is showcased where, they'll be pondering heat, power, light, summer, joy, strength, the changing climate and everything else that the sun brings to mind. And, they'll be part of a lineup that also includes artist talks, art tours, workshops and more. Kicking off the 2024 Biennale of Sydney: Lights On, a concert at White Bay Power Station on Friday, March 8, with the Phoenix Central Park team curating an outdoor stage headlined by Charlotte Adigéry and Bolis Pupul. Vv Pete, UTILITY & Friends and DJ HALFQUEEN also feature on the bill, while roving performers will do the rounds and there'll be an indoor dance floor that uses a traditional Colombian picó sound system called El Gran Mono. [caption id="attachment_910498" align="alignnone" width="1920"] Cannot Be Broken and Won't Live Unspoken (2022) [installation view]. Anne Samat. Rattan sticks, kitchen and garden utensils, beads, ceramic, metal and plastic ornaments. Wall panel: 365.75 x 731.5 x 61 cm. Floor: 609.5 x 609.5 cm. Commissioned by the Kochi-Muziris Biennale. Photographer: Anne Samat. Courtesy of the artist and Marc Straus, New York.[/caption]"Ten Thousand Suns departs from an acknowledgement of a multiplicity of perspectives, cosmologies and ways of life that have always woven together the world under the sun. A multiplicity of suns conveys ambiguous images. It evokes a scorching world, both in several cosmological visions and very much in our moment of climate emergency," said 2024 Biennale of Sydney Artistic Directors Cosmin Costinaș and Inti Guerrero about the program. "But it also conveys the joy of cultural multiplicities affirmed, of First Nations understandings of the cosmos brought to the fore, and of carnivals as forms of resistance in contexts that have surpassed colonial oppression." "The 24th Biennale of Sydney works with these different layers of meaning, acknowledging the deep ecological crises derived from colonial and capitalist exploitation while refusing to concede to an apocalyptic vision of the future. The 24th Biennale of Sydney proposes instead solar and radiant forms of resistance that affirm collective possibilities around a future that is not only possible, but necessary to be lived in joy and plenitude," Costinaș and Guerrero continued. BIENNALE OF SYDNEY 2024 — ARTIST LINEUP: Adebunmi Gbadebo (USA) Agnieszka Kurant (Poland / USA) Agnieszka Polska (Poland / Germany) Alberto Pitta (Brazil) Andrew Thomas Huang (USA) Anne Samat (Malaysia / USA) Barrileteros Almas del Viento (Guatemala) Bonita Ely (Australia) Breda Lynch (Ireland) Candice Lin (USA) Chitra Ganesh (USA) Choy Ka Fai (Singapore / Germany) Christopher Myers (USA) Christopher Pease (Minang/Wardandi/Bibbulmun, Australia) Citra Sasmita (Indonesia) Cristina Flores Pescorán (Perú / Netherlands / USA) Darrell Sibosado (Bard/Noongar, Australia) Destiny Deacon (KuKu (Cape York) & Erub/Mer (Torres Strait), Australia) Dhopiya Yunupiŋu (Gumatj/Yolŋu nation, Australia) Diane Burns (Anishinaabe/Chemehuevi, USA) Doreen Chapman (Manyjilyjarra, Australia) Dumb Type (Japan) Dylan Mooney (Yuwi/Meriam Mir/South Sea Islander, Australia) Eisa Jocson (Philippines) El Gran Mono (Colombia / Australia) Elyas Alavi (Hazara, Afghanistan / Australia) with Hussein Shirzad (Afghanistan / Australia); Jimmy Hintons (Australia); John Hintons (Australia) and Alibaba Awrang (Afghanistan / USA) Eric-Paul Riege (Diné/Navajo, USA) Felix de Rooy (Curaçao / Netherlands) Francisco Toledo (Mexico) Frank Bowling (UK / Guyana) Frank Moore (USA) Freddy Mamani (The Plurinational State of Bolivia) Gordon Hookey (Waanyi, Australia) Hayv Kahraman (Iraq / Sweden / USA) I Gusti Ayu Kadek Murniasih (Murni) (Indonesia) Idas Losin (Truku/Atayal, Taiwan) Irene Chou (Hong Kong / Australia) James Eseli (Kala Lagaw Ya/Badhulaig, Torres Strait Islands, Australia) Li Jiun-Yang (Taiwan) Joel Sherwood Spring (Wiradjuri, Australia) John Pule (Niue / Aotearoa New Zealand) Josh Kline (USA) Juan Davila (Chile / Australia) Júlia Côta (Portugal) Kaylene Whiskey (Yankunytjatjara, Australia) Kirtika Kain (India / Australia) Köken Ergun (Turkey / Germany) Kubra Khademi (Afghanistan / France) Lawrence Lek (Malaysia / UK) Leila el Rayes (Australia) Mangala Bai Maravi (India) Mariana Castillo Deball (Mexico / Germany) Marie-Claire Messouma Manlanbien (France) Martin Wong (USA) Maru Yacco (Japan) Mauroof Jameel & Hamsha Hussain (Maldives) Megan Cope (Ngugi/Noonuccal, Quandamooka, Australia) Ming Wong (Singapore / Germany) Monira Al Qadiri (Kuwait / Germany) Nádia Taquary (Brazil) Nikau Hindin (Te Rarawa/Ngāpuhi, Aotearoa New Zealand), Ebonie Fifita-Laufilitoga-Maka (Fungamapitoa, Tonga, Aotearoa New Zealand), Hina Puamohala Kneubuhl (Kihalaupoe, Maui, Hawai'i), Hinatea Colombani (Arioi, Tahiti), Kesaia Biuvanua (Moce, Lau, Fiji), Rongomai Gbric-Hoskins (Te Rarawa/Ngāpuhi, Aotearoa New Zealand) Niño de Elche & Pedro G. Romero (Spain) Orquideas Barrileteras (Guatemala) Özgür Kar (Turkey / Netherlands) Pacific Sisters (Aotearoa New Zealand) Pauletta Kerinauia (Miyartuwi (Pandanus), Tiwi Islands, Australia) Petrit Halilaj (Kosovo / Germany) & Alvaro Urbano (Spain / Germany) Robert Campbell Jnr (Ngaku/Dunghutti, Australia) Rover Joolama Thomas (Kukatja/Wangkajunga, Australia) Sachiko Kazama (Japan) Sana Shahmuradova Tanska (Ukraine) Satch Hoyt (UK / Jamaica) Saule Dyussenbina (Kazakhstan) Segar Passi (Meriam Mir/Dauareb, Torres Strait Islands, Australia Sergey Parajanov (Armenia / Georgia) Serwah Attafuah (Ashanti, Australia) Simon Soon (Malaysia) Tarryn Gill (Australia) Te Whā a Huna (Tūwharetoa, Aotearoa New Zealand) Tracey Moffatt (Australia) Trevor Yeung (China / Hong Kong) Udeido Collective (West Papua) VNS Matrix (Australia) Weaver Hawkins (England / Australia) Wendy Hubert (Guruma/Yindjibarndi, Australia) William Strutt (UK) William Yang (Australia) Yangamini (Tiwi; Gulumirrgin; Warlpiri; Kunwinjku; Yolŋu; Wardaman; Karajarri; Gurindji; Burarra, Australia) The 24th Biennale of Sydney will run from Saturday, March 9–Monday, June 10, 2024. Entry will be free, as always. We'll keep you posted on the whole artist lineup and exhibition program when they're announced. Top image: Ngarrgidj Morr (the proper path to follow), 2022. Darrell Sibosado. Powder-coated steel, LED tubes, fittings, electrical component. 300 x 245 x 8 cm (each panel). Collection of The National Gallery of Australia. Photographer: TheNational Gallery of Australia. © Darrell Sibosado.
Practise your Cockney accent, rehearse your favourite drunken London tale and prepare for high tea: the British Film Festival has arrived in Australia for the first time ever. There'll be a dozen contemporary features, five 20th-century classics (The Third Man and Lawrence of Arabia among them) and a chance to quiz Eric Bana during a live Q&A session, and a simply smashing opening night party. One film not to miss is Jump, a massive hit at the Toronto International Film Festival that captures the stories of three troubled individuals, who find themselves entangled by doomed romance, theft and revenge. Another much-talked-about feature is eccentric rock movie Good Vibrations, which comes to the British Film Festival following sold-out sessions at the 2013 Melbourne International Film Festival. Set against Ireland's Troubles of the 1970s, it follows the story of rebellious, maverick music lover Terri Hooley, Belfast's 'godfather of punk', and his determination to show the world the power of the seven-inch single. The star power is in Dom Hemingway, a gangster film in the style of Sexy Beast. It stars Jude Law as the outrageous, volatile Dom and Richard E. Grant as his best friend, Dickie. Following Dom's release after 12 years of imprisonment, the two travel from London to the south of France, encountering all number of misadventures along the way, from a car accident to an inevitable femme fatale. There's also the latest offering from Uberto Pasolini (producer of The Full Monty), Still Life, a drama in the British humanist tradition. The British Film Festival is on in Melbourne (November 20 to December 1), Sydney (November 21 to December 1), Brisbane (November 27 to December 8) as well as other cities around Australia. Thanks to the festival, we have 15 double in-season passes to give away. To be in the running, subscribe to the Concrete Playground newsletter (if you haven't already), then email us with your name and address. Sydney: win.sydney@concreteplayground.com.au Melbourne: win.melbourne@concreteplayground.com.au Brisbane: win.brisbane@concreteplayground.com.au
If you've got a hard earned thirst for some spiffy new beer merch, the folks at Victoria Bitter have you covered — again. Last year, the famed Carlton & United Breweries beer released a range of branded VB gear, going old school with their designs. This year, it has teamed up with menswear label Mr Simple and visual artist, director and animator Lee McConnell on a line of pop art-inspired pieces for your wardrobe, your feet and your head. There's still a definite retro edge to the new collection, with the folks behind the Aussie brew always keen to nod to its lengthy history quenching the thirst of hardworking folks. This time around, you can kit yourself out in clothing that nods to summer, Australian-style — so, as well as VB bottles, cans and logos, there are also cockatoos and melted palm trees. These elements are splashed across a collared 'BBQ shirt', resort-style shorts and socks. If you're keen on a vintage-style t-shirt, four different styles are available, including an Andy Warhol-inspired print, and recreations of old VB logos from beer trays and draught bottles. And yep, these threads are sure to get a serious workout over the upcoming festival season. Alongside the clothes, you'll find vintage-inspired stickers and coasters, a VB stubby cooler and a VB cap. Designing the pop art -influenced pieces, McConnell adds to his hefty resume. He nabbed an ARIA nomination for Best Cover Art for Dune Rats' The Kids Will Know It's Bullshit, and is known for his work both with the band, and with Jack River — as well as for Mambo. The VB x Mr Simple range is available for purchase online. Images: Mr Simple.
Australia has a penchant for good food, an adventurous spirit and a willingness to try the new and exciting. It's a combination that makes for a pretty stand-out culinary scene, as local chefs continue to push boundaries, flex creative muscle and hit reset on the latest and greatest food finds. Shifting philosophies and changing attitudes have spawned a whole wealth of food trends across the past decade, from the fun, to the health-focused, to the wildly inventive. Some of them were even started by TV shows — specifically MasterChef Australia, which is celebrating ten successful, and influential, years on the screen. Together, we've pulled together a list of the top ten trends that have shaped Australia's dining scene in the past decade, covering everything from diet trends and insects to one very special (Snow Egg-shaped) dessert. [caption id="attachment_658869" align="alignnone" width="1930"] Pezzo, Giulia Morlando[/caption] RIFFS ON OLD-SCHOOL FAVOURITES A healthy dose of nostalgia, mixed with a splash of creativity and a dash of daring attitude. It became the recipe for success as chefs began to revamp the classics and rejig those childhood favourites into modern masterpieces. Sydney cafe Dutch Smuggler had people scrambling for its new-school jaffle creations, rocking an unlikely, but addictive filling of Mi Goreng noodles. Bad Frankie led Melbourne's jaffle renaissance with its now iconic lamington version. Guy Grossi's Pezzo brought the pizza pocket back into our lives, and Matt Wilkinson took on an Aussie staple with his Brunswick East spot, The Pie Shop. And no one could forget Bar Liberty's opening attraction — a white bread, chicken-skin crackling, tomato and lettuce homage to the classic BLT. [caption id="attachment_598217" align="alignnone" width="1280"] Jethro Canteen, Jo Rittey[/caption] INSECTS In the name of sustainability, insects, bugs and creepy crawlies have marched their way into the culinary world, appearing on menus and embraced by top chefs the country over. Kylie Kwong showed her love for insect dining back in 2013, adding creations like cricket and prawn wontons, and stir-fried crickets to the lineup at her acclaimed Sydney restaurant Billy Kwong. Melbourne's now closed zero-waste cafe Silo also flew the flag for edible crickets, with chef Matt Stone enlisting the help of a horticulturist to grow and harvest the venue's own supply. And the trend's stuck around — famed Melbourne restaurant Attica turned heads with a black ant lamington, and today, you'll even spy roast crickets sprinkled onto a noodle salad at Richmond's Jethro Canteen. [caption id="attachment_601490" align="alignnone" width="1280"] Saint Peter, Nikki To[/caption] SEA URCHIN It might be considered a pest of the ocean, but the humble sea urchin has become a hero of the fine dining scene, dressed to impress, in elegant dishes at some of the country's hottest restaurants. The sea urchin's (this little creature) popularity in Japanese cooking lent plenty of influence here on Aussie shores — we saw it teamed with wasabi and caviar, atop rice crackers at Chris Lucas's Kisumé, and regularly crafted into stunning creations by acclaimed sushi master Koichi Minamishima at his namesake Richmond restaurant. But leave it to our own seafood king Josh Niland to plate up urchin with an Aussie twist — the chef's beloved Saint Peter serves the delicacy cradled in its spine, teamed with a warm, house-made crumpet. [caption id="attachment_662760" align="alignnone" width="1920"] Mjolner, Kate Shanasy[/caption] DIET TRENDS As diners embraced a whole plethora of modern-day diets, the wellness craze trickled beyond gyms and home kitchens, onto menus, and even spawning a new breed of healthed-up, diet-centric eateries. One second veggies were king, and the next the paleo movement had us all getting back in touch with our prehistoric selves, heroing meat and celebrating fats. Mjølner — in both Melbourne and Sydney — puts meat front and centre. Patch Cafe landed in Melbourne's Richmond with an entire offering dedicated to the primal-style diet, from 'bulletproof' coffee jazzed up with coconut oil and butter, to pasta crafted from zucchini. And Sydney haunts like Proteini also painted healthy eating fun, with colourful, flavour-packed dishes centred around nature's best. Cornersmith, Steve Woodburn FERMENTS As pickles, cultures and funky ferments made their way into the collective consciousness, they inspired chefs across the country to have a crack themselves, incorporating those gut-healing powers and that microbial magic into all kinds of dishes. Fine dining degustations and cafe menus alike began to incorporate house-fermented goodies, from sourdoughs and sauerkraut, to Korean-style kimchi. As with lots of other foodie trends, this craze also sparked plenty of DIY action, as everyday home cooks clambered aboard the fermentation train. Experts have been more than happy to share their secrets, with a host of classes offered by the likes of Marrickville's Cornersmith, The Craft & Co in Collingwood, and the Melbourne-based Wild Ferments. [caption id="attachment_671361" align="alignnone" width="1920"] Double Good[/caption] CHARCOAL Black became the new black as the culinary world embraced all things charcoal, as much for the purported health benefits as for that dramatic, head-turning colour. Kitchens everywhere got creative with the chemical-absorbing ingredient. Port Melbourne cafe Long Story Short made waves when it added activated charcoal fish and chips to the menu, though the presentation of black logs on a plate raised its fair share of eyebrows. Ink-coloured charcoal tarts starred in the adventurous lineup at Carlton cafe's now-closed Nora, and Brisbane punters went nuts for the Black Elvis charcoal soft serve at Eat Street's Double Good. [caption id="attachment_549358" align="alignnone" width="1280"] Snow Egg, Quay[/caption] STAND-OUT DESSERTS These days, the dessert game is all about leaving a lasting impression — not just on the person holding the spoon, but on our whole food-obsessed country. Wow factor became the go-to ingredient in this battle of the sweets, with each new creation vying to become the stuff of legend. Simplicity got the boot in favour of memorable extravagance. Peter Gilmore's famed Snow Egg stole the show in the Season Two finale of MasterChef Australia, and at Gilmore's restaurant Quay. Punters were happy to queue for an age to get their hands on one of Rustica Sourdough's famed cronuts, and Dan Hunter created an unlikely smash-hit with his oyster ice cream at Brae. [caption id="attachment_647927" align="alignnone" width="1920"] Hawker Chan[/caption] STREET FOOD Tucking into street food overseas can be a gamble, so we'll be forever grateful for Australia's multiculturalism and the young gun chefs bringing incredible street eats from all corners of the globe, to our own backyard. Fast, fun, and creative, street food has become a staple of our casual dining scene, even inspiring home-grown versions of international casual dining experiences. In Melbourne, the neon-drenched HWKR is delivering a modernised riff on the hawker centres of Southeast Asia, its four kitchens playing host to a globe-trotting rotation of buzz-worthy eateries, including Chanteen by Diana Chan. Chan is the winner of MasterChef Australia Season 9 and her pop-up eatery is currently serving up a slew of Singaporean and Malaysian street foods such as char kuey teow and soft shell crab sliders. You'll also find Michelin-starred Singaporean street food at Hawker Chan. Meanwhile, Sydneysiders have scored a swag of cuisine-specific street food restaurants, offering authentic flavours straight from the likes of Bangladesh (Bang) and India (Delhi Streets). [caption id="attachment_670959" align="alignnone" width="1920"] Fred's[/caption] SMOKE & FIRE Another hot foodie trend saw a barrage of chefs getting back to basics, turning to fire and smoke to bring their dishes to life. The wood-fire grill became star of many a high-end kitchen. Geelong fine diner Igni, fittingly named for the Latin word for 'fire', has quickly built a shining reputation on its devotion to the humble flame, as chef Aaron Turner's sharp technique and beloved wood grill put the tiny regional restaurant on the map. Fire's also been the force behind Adelaide's famed Africola, where Duncan Welgemoed is grilling and smoking in homage to the flavours of his homeland, South Africa, and at Sydney's Fred's where Chez Panisse alumnus Danielle Alvarez cooks most ingredients on an open hearth. [caption id="attachment_660428" align="alignnone" width="1920"] Mark + Vinny's[/caption] VEGETARIANISM Slowly but surely, vegetarianism has shed its dowdy, ugly duckling image and became one of the cool kids, as folks everywhere started to pay a little more attention to the planet. Menus across the globe came to the party and it opened up the door to some seriously creative plant-based dining offerings, the international charge led by the likes of Israeli-British chef Yotam Ottolenghi and his stunning cookbooks. Closer to home, Melbourne's Transformer matches a vegetarian menu to fine dining sensibilities, and vegan-friendly pasta bar Mark + Vinny's became Sydney's new millennial hotspot. Catch the latest season of MasterChef Australia from Sunday to Thursday at 7.30pm on Channel Ten.
Not that you need any extra incentive to do your bit for the environment, but here's a fun one anyway: your mates at Victoria Bitter have just started a new program that lets Aussies swap their excess solar energy for beer. Under the VB Solar Exchange initiative, locals can turn the power bill credit earned by their home's solar panels into a few icy cold brews, rather than simply selling it back to the grid. Specifically, VB is offering participants in its program a slab of beer for every $30 worth of energy credits they rack up. And, those brews will be delivered straight to your door, too. Of course, not just any old beer lover can get involved — and there are a few tight eligibility requirements to meet. First, you'll need to already have solar panels and be connected to the grid as a residential customer in New South Wales, Queensland, Victoria or South Australia. You'll also have to switch over to VB's chosen energy retailer, Diamond Energy. And you'll obviously need to be over the age of 18, so you can properly enjoy the spoils of your solar swapping. If you do tick all the boxes, you can register your interest over at the website and then sit back and wait to hear if you've been accepted into the program. Once in, you'll earn yourself a VB for every $1.25 of credit generated — and a slab once you've clocked up enough for 24 beers. Participants can track their progress as they go, with beers delivered to your door quarterly. That said, VB's producer CUB is only accepting 500 people into the program. It's also only handing out a maximum of 30 slabs per person each year, with debit cards sent out to cover the remaining credits. So if you're keen, don't wait too long to sign up. CUB is set to reinvest the solar credits back into the Solar Exchange program, as well as using a portion to hit the company's broader sustainability targets. The program is the latest in a suite of initiatives by CUB's parent company Asahi Beverages, as part of an ambitious sustainability program. It's committed to being powered by 100 percent renewable electricity by 2025. Registrations for the VB Solar Exchange are open now. Head to the website to check if you're eligible and to sign up.
Almost three decades ago, Spiderbait made Australian music history when they won Triple J's 1996 Hottest 100 with 'Buy Me a Pony'. They were the first local act to top the countdown. Now, that catchy track has a chance to again notch up a huge feat: taking out Triple J's new Hottest 100 of Australian Songs. Aussie tunes have emerged victorious in the station's annual countdown plenty of times since, of course. So, it isn't just 'Buy Me a Pony' that's in the running to be a two-time winner. That feat mightn't be achieved at all anyway — because there's no shortage of excellent Australian tracks that haven't topped a Hottest 100 before but might just come out in the number-one spot in the Aussie-only poll. Whichever song that you're certain should be named Australia's best, voting is open as at 8am AEST on Tuesday, June 17. You've got a month to pick your favourites — until 5pm AEST on Thursday, July 17, 2025. The results will then be broadcast from 10am AEST on Saturday, July 26, 2025 on not only Triple J, but also Double J, Triple J Unearthed and its dedicated Triple J Hottest station. Although no one needs a reason to celebrate Aussie music, Triple J has one: 2025 marks its 50th birthday. That fact ties into one big caveat when you're voting, you do need to choose a track that was released before the station hit that milestone on Sunday, January 19, 2025. [caption id="attachment_854346" align="alignnone" width="1920"] M Drummond[/caption] The Triple J and Double J voices that'll be counting down your picks include Ash McGregor, Dave Woodhead, Dylan Lewis, Yumi Stynes, Abby Butler, Tyrone Pynor, Concetta Caristo, Luka Muller, Zan Rowe and Lucy Smith. And if you're curious about which other tunes, aside from 'Buy Me a Pony', could score the double win, 'No Aphrodisiac' by The Whitlams, 'These Days' and 'My Happiness' from Powderfinger, 'Amazing' by Alex Lloyd, 'Are You Gonna Be My Girl?' from Jet, 'Wish You Well' by Bernard Fanning, 'One Crowded Hour' from Augie March, and 'Big Jet Plane' by Angus and Julia Stone are also in the running, for starters. Gotye's 'Somebody That I Used to Know', Vance Joy's 'Riptide', Chet Faker's 'Talk Is Cheap', The Rubens' 'Hoops', Flume's 'Never Be Like You' and 'Say Nothing', Ocean Alley's 'Confidence' and The Wiggles' 'Elephant' have also all topped the yearly poll before. Tame Impala's 'The Less I Know the Better' won the 2010s-centric countdown, while DMA's 'Believe' did the same for the Like a Version poll. Triple J's Hottest 100 of Australian Songs will broadcast from 10am AEST on Saturday, July 26, 2025 — with voting open between 8am AEST on Tuesday, June 17–5pm AEST on Thursday, July 17, 2025. Head to the Triple J website for further details. Top image: Ocean Alley, Neegzistuoja via Wikimedia Commons.
The perpetual re-creation of urbanscapes amounts to copious waste. It's true that an abundance of recycling processes aims at diminishing resource use. However, they're often heavy on the energy consumption front. Consequently, designer Omer Haciomeroglu, in conjunction with Atlas Copco, has come up with 'ERO: Concrete De-Construction Robot'. It's programmed to pull apart reinforced concrete structures, so that they can be re-used in the construction of pre-fabricated concrete buildings. 'Today, operators manually control different sized demolition machines to smash and crash the concrete structure into dusty bits within the demolition location,' Haciomeroglu explains. 'All of these machines consume a lot of energy to operate. Water has to be sprayed constantly over the pulverised surfaces with fire hoses to prevent harmful dust from spreading around. After the work is done, big machines come and scoop the rebar and concrete mixture and transfer them to the recycle stations outside the city. There, the waste needs to be separated manually.' So, Haciomeroglu designed ERO to separate materials during the de-construction process, achieved through Hydro-demolition and Centrifugal Decanter technologies. This means that new concrete blocks can be created onsite. In the 2013 International Design Excellence Award (IDEA), ERO won First Prize in the Student Designs category. Haciomeroglu has studied design at California State University, Istanbul Technical University and the Umea Institute of Design, Sweden. 'As a developing designer I always look forward to being part of design teams that develop projects, concepts and products that will grant us, the humankind, valuable and entertaining vision of a better and sustainable future,' he explains. [via PSFK]
Well, folks, the game is up. It turns out Transport for NSW had us all fooled when it announced the winner of last year's public ferry-naming competition, giving the honour to Ferry McFerryface as the most popular submission. But, as reported by The Sydney Morning Herald today, the whole thing was cooked. The name Ferry McFerryface actually scored just 182 votes in the 15,000-participant survey and only won top spot because it was the favourite of Transport Minister Andrew Constance. Plenty less comical names were snubbed in the process, including that of Clean Up Australia founder Ian Kiernan, who nabbed 2000 votes and was told the boat would be named after him, only to have the minister change his mind. The ferry — which has been on the harbour since December — will now be renamed after another strong contender in the original competition, late children's author and illustrator May Gibbs. She's the talent behind those iconic Gumnut Babies characters and classic titles you would have read as a kid like the Snugglepot and Cuddlepie series. Let's hope some of that wholesome, honest energy rubs off on Mr Constance. Via The Sydney Morning Herald.
Come 2026, almost a decade will have passed since Qantas proposed changing the way that Australians travel to two of the world's biggest cities — and most-popular holiday destinations — from the east coast. That plan: Project Sunrise, the initiative that's making non-stop flights from Sydney to London and New York a reality. It was first announced in 2017, ran trial flights in 2019 and has undergone delays since, including moving a 2025 start date to mid-2026. With its launch date now just two years away, Qantas is speeding ahead with the lengthy journeys, which'll join the Perth-to-London flights that began in 2018. (From Western Australia, the carrier also boasts straight-to-Rome routes, and just implemented Perth-to-Paris legs as well.) If spending all of that time on a plane sounds like it'll be an experience — the aircrafts are capable of staying in the air for up to 22 hours — the airline understands. Indeed, part of the Project Sunrise development process has been dedicated to ensuring that passenger wellbeing doesn't suffer, and also working out how to combat jetlag. Here's one solution, or at least a tactic to help: Qantas has revealed that its 238-person Project Sunrise A350-1000 planes will feature cabin lighting inspired by the Australian landscape, which will cycle through phases to help travellers adapt to the ultra long-haul voyage — and to the time zone when they disembark. The airline has been making the most of Hamburg's Airbus Customer Definition Centre, using a mockup of the A350 cabin to test lighting patterns and sequences, after the University of Sydney's Charles Perkins Centre conducted research during the Project Sunrise test runs on the inflight experience and reducing jetlag. Those learnings noted that some light spectrums work better to get circadian rhythms adapting. Cue plenty more testing, resulting in 12 lighting scenes for Project Sunrise's trips. Among them: using a broad-spectrum glow enriched with blue hues as an awake setting, which can also be softened; cycling through the tones of the sunset as it turns into a moonlit night, complete with clouds, to get travellers ready to go to sleep; and replicating an Aussie sunrise, starting at the front of the aircraft and rolling out to the back, when it's time to greet either London or NYC. Boarding, taxiing, take-off, sleep, landing and disembarking also have their own lighting modes. The planes will feature wellbeing zones that'll sport the colours of a daytime sky, clouds and all, when the flight is in its daytime setting. The same space will move to moonlight and water rippling during the journey's evening phase. And for those flush with cash, the enclosed first-class suites will let passengers fully customise their own lighting. As advised back in 2023, those wellbeing zones on the stopover-free hauls will sit between the 140-seat economy and 40-seat premium economy cabins. Inside, stretch handles and an exercise program guided via screens will get you active, while refreshments will be on offer at the hydration station. As for the cabins themselves, every seat will have free wifi, USB-C charging ports and also wireless charging and bluetooth connectivity so that you can use your own headphones — and, they'll feature in good news for your body, Qantas' most-generous seat pitches yet, plus ergonomic leg and foot rests. Qantas' direct flights from Sydney to London and Sydney to New York are set to take to the air in mid-2026. For more information, head to the Qantas website.
Thirty-five years ago, Spike Lee (American Utopia) directed his fourth film. Following a jazz trumpeter portrayed by Denzel Washington (Gladiator II), Mo' Better Blues started one of cinema's finest filmmaker-actor collaborations. Before that decade was out, the pair also made 1992's Malcolm X and 1998's He Got Game together. Then came 2006's crime-thriller Inside Man. Next, after a nearly two-decade wait, arrives Highest 2 Lowest. Lee and Washington are two of the biggest names in America filmmaking, and they're back in business together, teaming up on a movie that premiered at the 2025 Cannes Film Festival and will soon stream Down Under via Apple TV+. Highest 2 Lowest initially dropped a sneak peek back in May, asking if audiences can "handle the mayhem?". Ahead of the A24 flick's cinema release in the US, the picture has just unveiled its full trailer. The latest Lee-directed joint not only sees two icons reunite, but also reimagines the work of another. This time, the two Oscar-winners (Lee for BlacKkKLansman's screenplay, Washington for Glory and Training Day) are reinterpreting 1963 crime thriller High and Low from Akira Kurosawa. In the New York City-set Highest 2 Lowest, Washington plays a music mogul who is about to navigate quite the chaos. His character is renowned for having the "best ears in the business", then is saddled with a ransom plot, while also being faced with a moral dilemma with potentially grave repercussions. Also featuring Ilfenesh Hadera (Godfather of Harlem), Jeffrey Wright (The Last of Us), Ice Spice and A$AP Rocky (If I Had Legs I'd Kick You), Highest 2 Lowest is Lee's first film since 2020, when both Da 5 Bloods and concert movie American Utopia released. The movie has a date with US cinemas from Friday, August 22, 2025, then viewers everywhere — including in Australia and New Zealand — will be able to watch Highest 2 Lowest via Apple TV+ from Friday, September 5, 2025. Check out the full trailer for Highest 2 Lowest below: Highest 2 Lowest streams via Apple TV+ from Friday, September 5, 2025.
Last week, NASA announced that it would start rocketing into space from Australia. This week, the US National Aeronautics and Space Administration has revealed plans to allow tourists to not only soar beyond the earth, but spend time on the International Space Station. If you've ever wanted to hang out in an artificial satellite that's orbiting the planet — and you have spare piles of cash secreted away — your dreams might just be about to come true. Possibly commencing as early as 2020, private astronauts will be able to spend up to 30 days on the ISS, with two tourists allowed onboard at any one time. But before you go getting too excited, it'll come at a cost, obviously. Visitors will need to pay US$11,250 a day for use of life support and bathroom facilities, plus an extra $22,500 per day for food, air and medical supplies — and also fork out for the presumably ultra-expensive trip to actually get there. NASA won't be running an off-planet bed-and-breakfast, unsurprisingly, or a space public transport system. Rather, the move comes as part of a broader approach, with the ISS opening to commercial ventures in general — including private tourist outfits. The latter will be able to arrange the privately funded, dedicated commercial spaceflights for eager visitors, using NASA-developed US spacecraft. They'll also be responsible for flight crews, as well as ensuring that private astronauts meet the necessary medical and training requirements. https://twitter.com/NASA/status/1137000745922957313 Overall, NASA's statement talks of accelerating "a thriving commercial economy in low-earth orbit" — with businesses able to operate out of the station. While more than 50 companies are already involved with the ISS, their work is currently restricted to research and development; however that'll no longer be the case. Expect to keep hearing more about the agency's commercial efforts, given that there's another aim in store as well: landing the first woman and next man on the moon by 2024.
Vampires can be slain by staking them in the heart. Werewolves aren't fond of silver bullets. But Taika Waititi and Jemaine Clement's addition to the undead world can't and won't be killed — not that anyone would want that outcome. First, What We Do in the Shadows jumped from a short film to a hilarious feature-length comedy. Next, it not only inspired an Emmy-nominated US television remake, but also New Zealand television spinoff Wellington Paranormal. And in the latter's case, following its first two exceptionally amusing seasons, it's returning to Australian screens for its six-episode third season this month. We've said it before, and we'll say it again: trust a mockumentary about the undead to keep coming back in new guises. The Cops-style spinoff follows police officers Karen O'Leary and Mike Minogue, who WWDITS fans might remember came knocking at the vampire share house's door. With the help of Sergeant Maaka (Maaka Pohatu), the cop duo keep trying to keep the city safe from supernatural happenings — including not only bloodsuckers and lycanthropes, but ghosts, aliens and more. Wellington Paranormal's third season once again explores the spate of paranormal phenomena popping up in the city, with a whole heap of new spooky occurrences attracting O'Leary, Minogue and Maaka's attention. And, as it keeps wandering through strange but funny and silly territory, it'll welcome another familiar face, with Rhys Darby set to reprise his What We Do In The Shadows role. Although he won't be appearing on-screen, Clement directed half of the new season's episodes, too. In Australia, Wellington Paranormal airs on SBS Viceland and streams via SBS On Demand, which'll remain the case again this year. Episodes will drop weekly on both the free-to-air channel and the online platform from Wednesday, February 24. For those following What We Do in the Shadows' continued evolution, Wellington Paranormal's success shouldn't come as a surprise. When the show was first revealed, Waititi described it as "Mulder and Scully but in a country where nothing happens" on Twitter, after all. Wellington Paranormal's third season starts screening on SBS Viceland and SBS On Demand from Wednesday, February 24.
For his latest solo exhibition at the Museum for Contemporary Art in Tokyo, Tokujin Yoshioka has again indulged his fascination with organic structures and natural processes, embracing the interaction between prisms, space and light. In his series of striking sculptures and installations, Yoshioka aims to expose the beauty and energy present within self-generating wonders such as crystal formation, harnessing the process to become part of the art itself. He quite literally grows his artworks, using a special liquid that allows natural crystals to develop into whatever shape they choose, after which he sometimes decides to attach them to a base of some kind. And, like any true gardening fanatic, he believes in playing music to his 'plants' as they grow. His series entitled Swan Lake apparently blossomed under the soothing companionship of Tchaikovsky. Whilst we happen to think the huge fairy floss-like clouds of crystal comprising Tornado 2007 are pretty spectacular, the large-scale installation Rainbow Church has been heralded as the exhibition's highlight: a huge window made of 500 crystal prisms inspired by Henri Matisse's designs for the Rosaire Chapel. Yoshioka is known for combining architecture, design and installation art. His furniture designs appear at Salone del Mobile annually and he has also designed store interiors for high fashion brands such as Hermès and Issey Miyake. Via Yatzer.com. Images from the MOT.
Whenever a new season of Stranger Things drops, a familiar cycle kicks into gear. The latest batch of episodes arrive, everyone binge-watches them as quickly as Eleven (Millie Bobby Brown) eats Eggos, and then the waiting begins. First, we wait to find out if the 80s-set dose of supernatural hijinks will continue. Then, we wait to learn exactly when it'll be coming back. It's taken a couple of months after the third season hit back in July, but Netflix has finally taken care of the first question. And the answer is yes. As announced in the streaming platform's favourite way — via video — Stranger Things will return for a fourth bout of battles against demogorgons, mind flayers and the like. Alas, Netflix hasn't revealed any particulars in the way of a date, but it has dropped a crucial narrative tidbit. We hope you haven't gotten too comfortable in the show's small-town setting, because the next season will step beyond its bounds. The telling catchphrase that accompanies the renewal announcement clip: "we're not in Hawkins anymore". While season three's final moments hinted at venturing to a new location, Netflix's new video nods in one direction: the Upside Down. Of course, just what that'll mean is bound to spawn a never-ending onslaught of speculation until whenever the next season releases. Still, it's probably safe to assume that Eleven, Mike (Finn Wolfhard), Will (Noah Schnapp), Dustin (Gaten Matarazzo), Lucas (Caleb McLaughlin), Max (Sadie Sink), Steve (Joe Keery), Nancy (Natalia Dyer), Jonathan (Charlie Heaton) and the gang — and Joyce (Winona Ryder), too — will be pushed even further out of their comfort zones. If you're particularly fond of the series' creators, the Duffer Brothers have also committed to Netflix beyond the show, so expect other series and even films with them at the helm. Don't think they're leaving the show that brought them to fame, though — or, that Stranger Things is completely done with its regular locale either. Announcing the news, the twins said in a statement that they "can't wait to tell many more stories together — beginning, of course, with a return trip to Hawkins". Check out the Stranger Things season four announcement video below: https://www.youtube.com/watch?v=cIiDY4WA0oo&feature=youtu.be Stranger Things' fourth season doesn't yet have a release date, but we'll update you when it does.
You've crooned your way through sing-along screenings of Spice World, wished you could visit the huge memorabilia exhibition in Britain and just generally been following Spice Girls news since the English pop stars unleashed their brand of girl power on the world back in the 90s. Now, come 2020, Australians just might be able to spice up their lives with the group itself — according to Melanie Brown, aka Mel B, they're coming our way. As part of their Spice World reunion tour, Mel B and her bandmates Melanie Chisholm, Emma Bunton and Geri Halliwell have been playing gigs across the British Isles, bringing their zigazig-ah back to stadiums. They just played their last concert in London on Saturday, June 15 UK time, during which Mel B concluded the proceedings by saying "we'll see you in February in Australia". https://twitter.com/HalinaWatts86/status/1140009527129137152 No further details have been revealed, and nor has an official tour announcement at this stage — but here's hoping that if anyone is in the know about the Spice Girls' plans, it's one of the Spice Girls themselves while the group is on stage. If you're a fan, you'll wannabe hollering about the chance to see Scary, Sporty, Baby and Ginger perform in Australia for the first time — in a huge light and costume-filled performance, no less. Victoria Beckham, aka Posh, isn't part of the current shows, so this won't be the full Spice experience. Still, four out of five Spice Girls is better than none. It has been a big week for Spice news, with an animated Spice Girls movie also just announced, targeting a 2020 release. Unlike the live shows, it'll feature the whole Spice gang, according to The Hollywood Reporter. And, it'll include both new and old songs as well. The Spice Girls look set to tour Australia in February 2020, with dates and venues yet to be revealed. We'll keep you posted with further details as they come to hand.
The next seven nights will see parts of Alice Springs and its surrounds shine brighter than ever before, as the region's third annual Parrtjima - A Festival In Light delivers its most expansive program yet. The free public celebration of Indigenous arts, culture and storytelling is perhaps best known for its dazzling light installations, as First Nations' identity is shared across a whole swag of genres. This year, Parrtjima — the nation's first indigenous festival of its kind — will feature seven of these luminous displays, gracing both Alice Springs Desert Park and for the first time, Todd Mall in the Alice Springs CBD. The expanded CBD program includes a series of huge lit-up caterpillar designs, as well as a symbolic 'river of light' LED projection, flowing through the mall precinct in a striking display of textures, colours and patterns. Just out of town, tourism and conservation facility Alice Springs Desert Park will also come alive, awash with light from 6.30–10.30pm each night of the festival. Once again, a huge artwork will transform a 2.5-kilometre stretch of the majestic MacDonnell Ranges, this year working to the theme "from sunset to sunrise" with a more immersive light show experience than ever before. Visitors will be able to weave through a series of large-scale tree-inspired light sculptures for the Forest Space installation, or immerse themselves in art and storytelling as part of Grounded, where installations are projected onto the earth accompanied by a striking soundscape. There's the interactive Colour Space booth, featuring over 500 individually controlled LEDs responding to each person's movements, and even a hands-on kids' playground space, with captivating designs by Keringke Arts. The light installations are backed by a jam-packed program of dance, music, workshops and talks, sharing stories and celebrating First Nations' culture. It's a nice supplement to the area's Field of Light installation, which has been extended until 2020. If you can't get to the red centre this week, the images show just how incredible the landscape looks lit up at night. Parrtjima – A Festival in Light runs from September 28 until October 7 around Alice Springs in the Northern Territory. For more information, visit the festival website. Images: James Horan.
It's safe to say local artist Matt Adnate is pretty comfortable working in large scale. His public works can be seen gracing huge structures across Singapore, New York and Australia. Closer to home, you'll find a portrait of four local Indigenous Australians painted on the side of a soaring Sheeps Hill grain silo as part of the Silo Art Trail. But, clocking in at around twice the height of the regional Victoria piece, Adnate's latest artistic endeavour is the tallest mural in the southern hemisphere. If you've been kicking around Collingwood in recent weeks, you might have seen the genesis of this giant, vibrant work, on the side of the 20-storey Collingwood Commission Housing tower. Now complete, it stretches all 62 metres of the building, featuring huge lifelike portraits of four of the development's residents. Here's how it looks in full: The project saw Adnate teaming up, once again, with Fitzroy-born street art collective and creative agency Juddy Roller, who were also behind the Silo Art Trail. The idea for the work started when they took Minister for Planning Richard Wynne on an impromptu street art tour of the area a few years back. Since them, the crew of art-loving locals have been working towards bringing this huge public-housing mural to life. Of course, community engagement was key when the artwork's canvas was also home to hundreds of residents. So, organisers held a series of workshops, children from the precinct got together to create murals of their own and all residents keen to have their face immortalised in spray paint had their photo snapped down at the community centre. The four faces chosen for the work capture the area's spirit of diversity: Ethiopian woman Badria Abdo, who came to Australia 12 years ago as a refugee from Kenya; Indonesian man Yulius Antares Taime who has called the Collingwood flats home for just four months; Melbourne-born six-year-old Arden Watson-Cropley; and five-year-old Australian-Vietnamese girl Ni Na Nguyen. Find Adnate's Collingwood mural at 240 Wellington Street, Collingwood. Images: Nicole Reed Photography
There's a certain moment between waking up in a hot tent, losing your boot sole in shin-deep mud and slipping up the side of a muddy, muddy amphitheatre that we remember this unshakable music addiction of ours is fukt. Yet year after year, we load up our borrowed cars with hidden goon sacks, blow-up Kmart mattresses, '90s throwback playlists and enough muesli bars to make our mums happy and we drive our timetable-highlighting butts to the music mecca to rule them all post-BDO: Splendour in the Grass. Why do we do it? Why do we skate through mudpiles resembling a human bowel system? Why do we munch on greasy moshpit ponytails between burling throat-scraping vocals? Why do we shell out ten beans a tinny for watery piss that calls itself beer? Seems we can't shake this pesky music lovefiend. Returning to North Byron Parklands, this year's Splendour in the Grass gained wraps from the 5-0 for 'good behaviour' (the badly behaved are still sitting in sinkholes in the Mix Up tent), slam dunked three big gun headliners in a row (Mark Ronson, Florence and the Machine, Blur), and generally became the mudbath we annually buy novelty gumboots for. While we counted no less than seventeen headdresses and found an entire Splendour stall selling the damn things, there was a limited quota of douchebaggery to be seen — or perhaps they were simply easier to avoid; mud maketh muppets of the munted. Instead, here's what made us cheer for an encore. CLIENT LIAISON With a bigger budget and bigger audiences to boot, Client Liaison have become the nostalgia-fuelled spectacle they've been threatening to be for years; ferns, pastel tuxedos, gold necklaces, and three incredible legs-for-days aerobic dancers to pose Lampoon-style around Client's disco-dancin' Monte Morgan. With co-Liaison Harvey Miller tweaking singles 'Queen' and 'End of the Earth', Client finished up with a cover of INXS's 'Need You Tonight' with longtime live bandmate and triple j Hack presenter Tom Tilley. FLORENCE AND THE MACHINE Florence Welch is the new messiah. Well, you'd be forgiven for thinking so after this large-scale bapitism-by-ballad. Characteristically bare-footed and donning flowing white threads to rival Stevie Nicks, the British powerhouse entranced the amphitheatre with soaring vocals and theatrical spirit fingers, backed by her mighty Machine — stopping to remind the audience of her first Splendour performance in a Surry Hills-bought vintage wedding dress many moons ago. With expectations high following her slam dunk of a 2015 Coachella set, Welch careened through single to fan favourite to 'Dog Days Are Over' finish with the level of high energy usually associated with Bacchanalian wood nymphs. TAME IMPALA The last time Tame Impala played Splendour, they debuted a little ol' single called 'Elephant' three years ago. This year, Kevin Parker and his psychedelic bunch came armed with brand new album Currents and an amphitheatre full of expectant fans (and granted, Blur fans trying to get a good spot). It's not every artist who's confident enough to drop seven-minute single 'Let It Happen', or open a set with it, but Parker's not every artist. BLUR "You're all fucked, aren't you." Blur frontman Damon Albarn knew an end of Splendour audience when he saw one, bubbling with anticipation at seeing the '90s Britpop legends united in the ampitheatre on Sunday night. Saluting the moon, bounding about the stage like a merry pirate and getting up in fan faces over the almost two-hour set, Albarn steered Alex James, Graham Coxon and Dave Rowntree through a furiously fast 'Song 2', beloved singles 'Beetlebum', 'Parklife' and 'There's No Other Way' amongst plenty of material from new album Magic Whip. Finishing up the festival with epic 1995 ballad 'The Universal' made whimpering messes of fans amphitheatre-wide. PURITY RING Though the Mix Up tent was almost literally sinking into the mud, Canada's Purity Ring took Splendour punters to new heights of euphoria. Multi-instrumentalist Corin Roddick commanded booming synths and playable light-up crystals, while elven vocalist Megan James jumped, skipped and serenaded like a futuristic woodland sprite, blitzing everything from 'Push Pull' to 'Fineshrine'. MARK RONSON With Theophilus London, Kevin Parker, Daniel Merriweather, Keyone Starr and co. in tow, Mark Ronson's all-star variety show careened through the superstar producer's hit-dotted career so far; from explosive opener 'Feel Right' to a heartfelt 'Valerie' singalong using Amy Winehouse's original vocals. After cheesily getting bikes onstage for 'The Bike Song', bringing out Miike Snow's Andrew Wyatt for a rendition of the Ronson-co-written single 'Animal', Ronson dropped the firecracker Splendour was waiting for: a ten minute, rain-drenched bacchanal fuelled by 'Uptown Funk'. Worth the subsequent flu. MØ If you've ever wanted to feel as old as humanly possible at a live gig, see a MØ gig. The Danish electro pop singer (real name Karen Marie Ørsted) made a mockery of ageing, blasting out a youth-fuelled escapade into her debut album No Mythologies to Follow in the Mix Up tent — finishing up with a giant singalong of Major Lazer and DJ Snake single 'Lean On'. Ørsted gave a nod to her buddy Elliphant, the pint-sized Swedish pseudo rapper who'd similarly stopped time the day before, with a sultry rendition of their duet 'One More'. JENNY LEWIS While DZ Deathrays melted faces in the amphitheatre and Japanese Wallpaper threw shapes for giggly teenfans, longtime crooner Jenny Lewis was kicking goals over in the GW McLennan tent. Turning what should be a sheriff-badged country hoedown into a candy-coloured pop shop, as Lewis's pastel rainbow-themed set flagged new material from her latest album The Voyager. Lewis has never been better. Sauntering through old heartwrenchers like 'With Arms Outstretched', and new buzz tracks 'Just One of the Guys' and 'She's Not Me', the ever pitch perfect Lewis dropped a bit of 'Bad News' for Rilo Kiley fans late in the set. Kudos go to Lewis's lead guitarist and keyboardist who joined Lewis for a three-part harmony a la Brother Where Art Thou that left no dry eye in the house. UV BOI If you're not across this 18-year-old Brisbane producer, take note. One of the most original and refreshing producers in the game right now, UV boi threw every genre in the book in the bin with his Tiny Dancer stage set. JARRYD JAMES There's a lot to be said for a killer single. Brisbane's Jarryd James has been kicking serious goals over the last 12 months, with a debut album on the way and a multi-platinum single 'Do You Remember' tailor-made for a big ol' Splendour singalong. But James is more than his big breakthrough song, showcasing the his Frank Ocean-meets-Blackstreet catalogue to a packed-out Mix Up tent. "Thanks for coming and hanging out, I know my music's not party music." Beg to differ bro, beg to differ. THE SMITH STREET BAND Melbourne's bighearted rockers hit it out of the ballpark on Splendour's sunny, sunny Saturday afternoon, while toilet paper rolls soared over the crowd. "I dare anyone else playing at Splendour to sweat this much," mused frontman Wil Wagner staring straight into the sun and leading his crew and one heck of an adoring crowd through such hard-hitting jewels as 'I Don't Wanna Die Anymore', 'Don't Fuck With Our Dreams' and the nostalgia-driven 'Young Drunk' in front of a huge banner preaching "Real Australians say welcome". Total legends. THE DANDY WARHOLS Though slightly lacking in vocal volume, the Dandies put on one energetic show for their boob-flashing fans. Bouncing from mega single 'We Used to Be Friends' to Thirteen Tales From Urban Bohemia throwbacks like 'Mohammed' and 'Bohemian Like You', the Oregonians proved unexpected highlights for both longtime fans and Dandy newcomers alike — all trying to get a solid footing on the perilously muddy amphitheatre slopes. VALLIS ALPS Watch out for these two. Filing the Mix Up tent for Saturday's perilously early midday slot, bright young up-and-comers Vallis Alps served up their dreamy brand of Chrome Sparks-like electronica to new ears. The Canberra and Seattle-based duo blitzed their fourth ever live show (yep, kids today), cranking a beauty of a Bon Iver 'Blood Bank' cover and finishing up with big buzz single 'Young'. MEGAN WASHINGTON Surrounded by metallic balloons and playing the absolute crap out of her beloved keyboard, Washington delivered one of her most energetic, stadium-like sets yet. The real showstopper? A mid-'My Heart Is a Wheel' cover of Real McCoy's 'Another Night', with Washo's keyboardist crushing that immortal 'rap' bit. Plus, punters got to nab those silver balloons, most of which were released into the night during Tame Impala's amphitheatre set. Magic. #1 DADS Last show for Tom Isanek's #1 Dads side project, and what an emotional feelbucket it was — from the heartbreaking 'Return To' featuring Tom Snowdon to that glorious, widely celebrated cover of FKA Twigs’s 'Two Weeks’. JOHNNY MARR Watching a legend play their own iconic guitar lick reminds you of how many bad cover bands you've seen over the years. Legendary guitarist for The Smiths Johnny Marr commanded the GW McLennan tent with tracks from his latest album The Messenger, but indulged in a few Smiths classics for fans, nailing Morrissey's warbling vocals in 'There Is a Light That Never Goes Out' and finishing up with the howling 'How Soon Is Now'. Images: Bianca Holderness, A. Catt, Justin Ma, Savannah Vander Niet, Claudia Ciapocha, Ian Laidlaw, Stephen Booth, Marc Grimwade, UV Boi.
Mid-last year, we looked at a Kickstarter project involving the construction of a swimming pool in New York's East River. Now, London-based architects Studio Octopi have hatched a similar plan for London: the Thames Baths Project. The concept is a response to the potentially impending construction of the Thames Tideway Tunnel, dubbed the 'Super Sewer'. Thames Water is awaiting approval to build a 25km underground tunnel, designed to divert the 39 million tonnes of sewage that enters the river each year. London's 150-year-old sewage system simply can't cope with 21st- demands. Studio Octopi proposes the creation of two sets of baths — one at Shadwell in the east and one at Blackfriars (fancy a quick dip before hitting the West End?). The architects collaborated with Civic Engineers on the nitty gritty construction details and with Jonathan Cook Landscape Architects on the aesthetics. Each site would see three tide-responsive pools, supported by concrete slabs and fringed with native foliage — reeds, rushes, yellow flag irises, sedums and valerians. "A lot of people screw their noses up at the thought of swimming in the Thames, but it already occurs within very controlled conditions, such as at Hampton Court and the Docklands," Studio Octopi director Chris Romer-Lee said in an interview with Dezeen. "Imagine the views from the waterline [from Blackfriars], downstream to the London Eye, upstream to the City. Whether it's for sport or leisure, bringing these alternative uses to the heart of cities unites diverse communities, encourages physical activity and invigorates the flora and fauna of our much overlooked river." Even though the Thames Baths Project does not depend on the Super Sewer, it does require a significant improvement in the river's water quality, which fails to meet European standards. The concept is one of five successful submissions to London As It Could Be Now, run by The Architecture Foundation and currently on show at the Royal Academy.
If there's one recycling exercise that's always fun to do, it's finding a new use for an old bottle. We've seen Jack Daniels flasks transformed into soap dispensers, bottle caps turned into garden sculptures and crates of beer metamorphose into Christmas trees. If summer holiday excesses have left your place overflowing with empty receptacles that once bore much seasonal cheer, here's one simple, ingenious way to take care of them: Bottle Lights. Supplied by quirky gifts company SUCK UK, they transform any bottle into a magical lantern. Priced at just £10 ($18), LED corks are a convenient alternative to candles, which might look enchanting but don't survive the outdoors should any gust of wind come their way. Plus, a host of clever features means particularly slick operation. These include an on/off twist mechanism and rechargeability via USB. One hour's worth of charges provides two-and-half-hours of illumination. So, not only are they pretty, they're also eco-friendly. SUCK recommends brightening up a series of vintage bottles for an unusual lighting effect or selecting a favourite empty and transforming it into a central table-piece. Via Gizmodo.
Among Brisbane's must-do experiences for locals and attractions for tourists, Lone Pine Koala Sanctuary is one of the most famous. While the Fig Tree Pocket wildlife facility that dates back to 1927 isn't just home to koalas, but also fellow wildlife such as owls, kangaroos, wombats, echidnas, turtles, birds of prey and snakes, it's long been known as the spot in the Sunshine State capital to cuddle a koala. Since Monday, July 1, that's no longer the case, however. The site has announced that it has ended its koala holds "in response to increasingly strong visitor feedback", and will replace it with a new koala close-up experience from Sunday, September 1, 2024. "To address increasing public demand and a concerted effort to embrace more-immersive and educational experiences, Lone Pine Koala Sanctuary will be ceasing koala hold experiences," said the site in a statement. Visitor feedback indicated that folks are "wishing to spend longer with the sanctuary's koalas and their passionate wildlife care team, without necessarily holding them," the announcement continued. "We love that there is a shift among both local and international guests to experience Australian wildlife up close, but not necessarily personal, just doing what they do best — eating, sleeping and relaxing within their own space," said Lone Pine Koala Sanctuary's General Manager Lyndon Discombe in the same statement. "We have absolutely seen an increase in demand for educational programs and guided experiences, focusing on the ability to witness the natural behaviours of koalas. Once you see them up close and in their wonderful natural state, we hope our guests love and respect them even more." "With the development of koala close-up and the expansion of the sanctuary's existing daily koala encounters (koala moments), Lone Pine will be offering guests increased opportunity to be in the presence of our adorable marsupials and learn about their behaviours, ecology and daily care, as well their unique quirks and personalities." [caption id="attachment_964209" align="alignnone" width="1917"] Christopher Neugebauer via Flickr[/caption] When spring arrives, the new koala close-up give patrons extra time in the koalas' presence, with each session running for 15 minutes for groups of up six people. It does include feeling a koala's fur, but not holding it or getting a complementary photo with it. Lone Pine's koala moments experience covers touching a koala, while the 60-minute koala discovery tour gets you spending one-on-one time with a koala, entering the koala exhibit and seeing behind the scenes at the leaf-sorting area. Still on the adorable marsupials, the venue's platinum tour also weaves in the koala moments experience. [caption id="attachment_964210" align="alignnone" width="1917"] Christopher Neugebauer via Flickr[/caption] The latest change to the Brisbane locale comes after the wildlife sanctuary expanded in 2023 with a new nocturnal precinct. At the night-focused addition, visitors can see koalas, rufus bettons, tree kangaroos, Tasmanian devils, bare-nosed wombats, potoroos, pademelons, bandicoots, bettongs, southern hairy-nosed wombats and echidnas after dark while taking a one-kilometre stroll through a eucalypt planation. "It's an Australian native animal treasure hunt, with the prize being able to see these amazing creatures up close and personal," said Frank Mikula, Lone Pine Koala Sanctuary Curator, when the nocturnal precinct opened. Patrons get peering using portable thermal imaging cameras, with the experience designed around not disrupting the critters, and instead walking across a new elevated boardwalk that has been custom-designed for the site. [caption id="attachment_964208" align="alignnone" width="1917"] Andrew Thomas via Wikimedia Commons[/caption] Lone Pine Koala Sanctuary at 708 Jesmond Road, Fig Tree Pocket, Brisbane stopped offering koala holds on Monday, July 1, 2024, and will start its new koala close-ups from Sunday, September 1, 2024. Head to the venue's website for more information and bookings. Top image: Christopher Neugebauer via Flickr.
The Act of Killing screened last week as part of the official competition at the Sydney Film Festival. And the consensus of nearly everybody who has seen it has been that it's one of the most compelling, original and affecting documentaries they have ever seen. More to the point, in the two and a half hours you sit in company with it in the dark of the cinema, The Act of Killing rips up your idea of what a documentary is supposed to be. Principally, The Act of Killing, directed by American filmmaker Joshua Oppenheimer, traces the aftershocks of the coup that brought President Suharto to power in Indonesia. The government was overthrown by the military in 1965 and the Indonesian Communist Party (PKI) eradicated, alongside anybody accused of being a communist, including union members, 'leftists', intellectuals and the ethnic Chinese. "I started this project working in a community of survivors," Oppenheimer explains when he sat down with us earlier this week. "Trying to make a film about the horrors that had happened but also about the regime of fear and impunity and corruption under which they're still living. And every time we'd film together we'd be stopped by the military. But living in the same village as the survivors were the perpetrators. And they were boasting to me. I would meet them in the street, they would invite me in for tea, and they would boast about what they had done. That was the crack in the facade of normalcy. And I came to understand very quickly that the big story here is not what happened in 1965. This is about what's happening now." https://youtube.com/watch?v=zJ5_JAgoZ5Q Your friend, the war criminal The film's central focus is Anwar Congo, a self-styled gangster who made his money during the '60s as a ticket scalper at the local cinema in North Sumatra's capital city, Medan. When the coup began, the army used paramilitaries and gangsters like Anwar to carry out the massacre of what is estimated to be around 1 million people. With Anwar and his friends, Oppenheimer saw an "opportunity to document the nature of impunity honestly. It's a situation where the killers have won, they've been celebrated by the whole world, and therefore they're open about it. As opposed to what we normally see: killers either deny what they've done, or apologise for it." To try to understand the function of the men's boasting, he asked them to re-create scenes about the killings in whatever way they wished, and the men — fans of American films and culture — took to screenwriting and acting. "The film is my way of understanding a whole regime of impunity, the imagination of the impunity, the way they, like all of us, use storytelling to create their reality," says Oppenheimer. "And as part of that they use storytelling to escape from their most bitter truths." Turning Documentary On Its Head Documentary has a unique kind of power, if not exactly to reveal the invisible than to speak of things we prefer to ignore. And as media proliferate, diverge and splinter, non-fiction films seem to be finding a fresh voice. It isn't that documentary has ever really inhabited a magical land of objectivity and absolute 'truth'. The difference is that fact and fiction are increasingly hazy in our minds, and just about everything we once thought of as 'non-fiction' — politics, sport, celebrity, advertising — involves a certain amount of wavering between the real and the unreal. And waver between the real and unreal is precisely what The Act of Killing does, unfolding in a space that's both horrifyingly straightforward and technicolour phantasmagoria. The film flits between frank accounts of the men explaining and demonstrating how they killed their victims and surreal images from their re-creations — a line of women dancing in the mouth of a giant fish, Anwar's head decapitated but still speaking, a man in drag smoking a cigarette singing about taking his girlfriend to the movies. Many of the most powerful scenes in the film fit somewhere in between reality and fiction. "There were these moments of pure poetry that weren't scenes," says Oppenheimer. "They're observational scenes in a way — about how we're lost in our fantasies. They're documentary scenes, in a surreal space. So the film obtains a density and a richness because we have a sense that there are all these stories that are untold. There's a plot behind these scenes, but we don't know what it is and it doesn't matter." We Tell Ourselves Stories in Order to Live Legendary filmmaker Werner Herzog, who happens to be executive producer of The Act of Killing alongside Errol Morris, declared in 1999 that simply holding up a camera and capturing what's around you isn't sufficient in documentary filmmaking. "There are deeper strata of truth in cinema," he said, "And there is such a thing as poetic, ecstatic truth. It is mysterious and elusive, and can be reached only through fabrication and imagination and stylisation." That is precisely what The Act of Killing does. By asking Anwar and his friends to re-create scenes of the massacres, the filmmakers expose the unacknowledged complexity of the Indonesian genocide. "I think Anwar's trying to escape from his pain," says Oppenheimer, referring to many of the scenes where Anwar and his friends portray themselves as heroes for massacring thousands of people. "Every time he does it he re-avoids the moral meaning of the killing, and reifies his denial. It's a way of escaping the reality of what he's done, or so he thinks. But it also becomes the prism through which he recognises what he's done." What the film uncovers is that the stories told by the perpetrators are a product of something far more profound than simple cruelty. "Yes, those stories are instruments of fear and they keep everybody else afraid, but paradoxically they're not symptoms of the remorselessness of the perpetrators. On the contrary, they're symptoms of their humanity. The celebration of genocide can simply be a symptom of a stridency you adopt because you don't believe your own justification. And if there's a thread defining the film's development, it's Anwar's subtext — it's the look on his face showing he never seems to believe the things he's saying." What The Act of Killing does is take the storytelling process, and instead of using it as the Indonesian elite does — to keep people afraid — the film uses storytelling as an instrument of moral understanding. "Our entire world is made up of second-hand, third-rate stories. And I think we have no choice, since that's what our world is made of, but to recover these stupid stories for something humane. So the film is a kind of recycling, a kind of bricolage of shit, trying to make something beautiful out of the shit." When Art Makes A Difference The Act of Killing has received international acclaim since its premiere last September, but more importantly it has caused an upheaval in Indonesia. "It's screening every day," explains Oppenheimer. "As of March it had screened over 500 times. The Indonesian media is now publishing serious investigative reports about the genocide, whereas for forty-seven years they'd been silent about it. It's caused a sea change in how the country sees its past. It's come to the country like the child in The Emperor's New Clothes pointing to the king and saying "the king is naked". And everyone knew it. Maybe they didn't know the details. But now that it's been said so powerfully — and by the perpetrators themselves — there's no going back. The government has chosen to ignore it for the moment, although some army groups and some paramilitary generals have been threatening people screening the film, and threatening me. But it is making a real difference. "Werner [Herzog] said to me when I was talking about this to him over dinner, 'Josh, art doesn't make a difference.' And he looked at me for a long time and I felt rather deflated. And he smiled and then he said 'until it does'." The Act of Killing will get a limited Australian cinema release through Madman Entertainment on October 3, 2013.
After years selling their delicious delights at Night Noodle Markets all over the country, the geniuses behind Hoy Pinoy's much-loved Filipino BBQ have set up a permanent restaurant and bar. It's called Frankie Says and you'll find it tucked behind an apartment building complex in an obscure part of Richmond. The hidden-away location has some cracking advantages. First up, it's right on the Yarra River, so you get serene water views and bush vibes with your feast. Secondly, it's just over the road from IKEA. And it's way less crowded and frenetic than most other spots in the city — at least for now. Founders Megan Phillis and James Meehan designed the eatery to make diners feel like they're walking into a private kitchen. "Opening Frankie Says is like inviting people into our home," Megan says. "This is how we love to eat, with flavour, sharing and laughter turned up high." "We want Frankie Says to be somewhere people can feel totally relaxed as they enjoy a Champagne brunch, catch up with friends over an afternoon antipasto, or simply take a moment to themselves in the leafy surrounds with a cup of coffee." The cheery, light-filled, high-ceilinged venue features solid timber pillars and glass walls, which open onto a vast, sunny, outdoor area overlooking the river. Inside, the feel is chic but informal, with hardwood floors, rendered concrete walls, mosaic tiles and pendant lighting. Meanwhile, the menu is designed to encourage repeat visits. Its ever-changing selection of yumminess include antipasto boards, house-made stone-oven pizzas and tasty breakfasts, like a deep dish pancake and truffle eggs with artichoke paste. They also have their own table wines: a 2013 sauvignon blanc and a 2012 cab sav, both from South Australia.
A brand new performing arts festival is on its way to Melbourne, featuring works by creatives from all across Asia. Running from January to April in 2017, the first ever Asia-Pacific Triennial of Performing Arts is a joint venture between various government entities, the Sidney Myer Fund, and a number of the city's leading cultural institutions — including the Arts Centre Melbourne, the NGV and the Australian Centre for the Moving Image. Suffice it to say, we've got big expectations. The inaugural Asia TOPA lineup includes 60 events and more than 350 artists, hailing from China, Japan, India, Thailand, Indonesia, the Philippines and beyond. Standout shows include a special performance by the MSO featuring prolific Bollywood composer A.R. Rahman, a pop music pop-up and bar in the Immigration Museum courtyard, and the first ever Australian performance by the National Chinese Ballet of their most iconic work, The Red Detachment of Women. Many works on the program are the result of cross-cultural and cross-disciplinary collaboration. In One Beautiful Thing, acclaimed local circus company Circa will join forces with acrobats from India to showcase the centuries old gymnastic practice of mallakhamb. Meanwhile, Chunky Move choreographer Anouk van Dijk has teamed up with Singaporean visual artist Ho Tzu Nyen on the immersive new dance work ANTI GRAVITY. Also on the menu are a number of moving image works. These include a free exhibition at ACMI about the early days of Bollywood, a showcase of four episodes that reimagine urban mythologies and traditional Filipino folklore from Australian-Filipino collective Club Ate, and a special screening of Satan Jawa, the new film from Indonesia's Garin Nugroho, featuring a live score by the MSO and 20 gamelan players. Image: Balud (Jai Jai), Ex Nilalang (2015). Shot by Gregory Lorenzutti.
It's safe to say that nobody is playing the long game like Marvel Studios. When they put together individual films for Iron Man, the Incredible Hulk, Captain America and Thor, the endgame they had in mind was The Avengers, in which all the heroes teamed up to take on one gigantic threat. Guardians of the Galaxy is something different: taking place almost exclusively in outer space, it eschews the interconnected universe — save for a small hints for fans with long memories — in favour of a decidedly stand-alone adventure. And what an adventure it is. Kidnapped from Earth as a child, Peter Quill (Chris Pratt) — preferred nom de plume 'Starlord' — is a roguish figure in the vein of Han Solo or Mal Reynolds, who recovers exotic treasures to sell to seedy figures. But his latest acquisition brought him some unwanted attention: he is hunted by green-skinned assassin Gamora (Zoe Saldana), foul-mouthed raccoon Rocket (Bradley Cooper), and sentient tree Groot (Vin Diesel). When all four are thrown into a hellish prison alongside vengeance-minded muscle-creature Drax (Dave Bautista), this group of misfits realise they're the only ones who can stop a powerful madman from destroying the galaxy. Sound pretty uninspiring? Don't be fooled. The film is full of inventive, fun ideas: writer/director James Gunn has crafted a rich and engaging universe that feels infinitely more expansive and detailed than your run-of-the-mill sci-fi film. And that's not even its biggest selling point. Guardians of the Galaxy is funny. Like, laugh-out-loud funny, and for its entire running time. While far too many Hollywood comedies can barely raise more than one or two laughs per hour, Guardians of the Galaxy puts them to shame with an extraordinarily high number of quips and gags that always feel completely natural to the story and characters. What really sells it is the casting. Pratt (Parks and Recreation's Andy Dwyer) is a natural leading man, embracing the goofy in a way that far too many stoic action stars are afraid to. Saldana (Avatar) again proves she's unparalleled at grounding blockbusters even when playing an improbably hued alien warrior. Wrestling star Bautista reveals a substantial gift for comic timing, and it's no backhanded compliment to say that Diesel and Cooper have never been better. A wealth of supporting turns come from Glenn Close, John C Reilly, Peter Serafinowicz, Lee Pace, Djimon Hounsou, Michael Rooker, Karen Gillan and a couple of cameos we shan't spoil. Guardians of the Galaxy is a weird, risky prospect for a studio that's all about relatable humans in recognisable settings. Maybe that's why it works: faced with a tougher sell, they've gone the extra mile to make something special. And boy does it work. https://youtube.com/watch?v=3CqymRQ1uUU
Jurassic Park and Jurassic World films typically have a moment — more than one, sometimes — where an ominous sound gets the franchise's characters looking upwards. The source of that noise tends to be a towering dinosaur, which also becomes everyone's next sight, the movie-watching audience included. In those seconds, folks on- and off-screen tend to share a look. Viewers of 1993's OG picture in the saga, and of 1997's The Lost World: Jurassic Park, 2001's Jurassic Park III, 2015's Jurassic World, 2018's Jurassic World: Fallen Kingdom, 2022's Jurassic World Dominion and now 2025's Jurassic World Rebirth, have all spied it. Awe, wonder, surprise, shock, amazement, reverence, a touch of fear: that's the Jurassic expression when the kind of critter that lived more than 66-million years ago looms large over modern-day humans. Audiences do indeed sport the same reaction. Jurassic World Rebirth star Rupert Friend (The Phoenician Scheme) has witnessed it. At the film's premiere, "occasionally we turned around in our seats to look at the faces watching it," he tells Concrete Playground, "and you saw a thousand people with that look on their face". If you're thinking that perhaps that is just the innate, instinctual response to dinosaurs, then, you're not alone. "So maybe it's just a natural thing when you're experiencing this stuff, to have that — somewhere between awe, wonder and terror, maybe — I would say," Friend continues. Friend's character is the entire reason that the new narrative, which is set five years post-Jurassic World Dominion, kicks into gear. In the seventh instalment in the big-screen series, and in a movie directed by Gareth Edwards (The Creator) — adding a Jurassic Park franchise film to a resume that's already seen him tackle sizeable creatures in 2010's Monsters and 2014's Godzilla, and jump into huge sagas courtesy of the latter and Rogue One: A Star Wars Story — Martin Krebs is the man with the plan. Working for pharmaceutical company ParkerGenix, he recruits ex-special forces operative Zora Bennett (Friend's The Phoenician Scheme co-star Scarlett Johansson), her seasoned associate Duncan Kincaid (Mahershala Ali, Leave the World Behind) and palaeontologist Dr Henry Loomis (Jonathan Bailey, Wicked) on a mission to collect dino DNA. The idea is to use the specimens in medical research to create new treatments. Making money is as much of a goal. Venturing to an island that's one of the last places on the planet with a climate and ecology still suitable for ancient beasts — and to a location that's forbidden to people as a result — Zora, Duncan and Henry are Jurassic World Rebirth's core trio. Fans know that the saga has enjoyed putting that dynamic front and centre since Sam Neill (The Twelve), Laura Dern (Lonely Planet) and Jeff Goldblum (Wicked) were at the heart of 1993's franchise-starter. Unsurprisingly given his employers, and befitting the series' fondness for a human villain, too, Krebs and the latest film's three leads don't always agree. Experiencing the wonders of living dinosaurs right now equally harks back to the original flick. That's where Manuel Garcia-Rulfo (The Lincoln Lawyer) comes in as Reuben Delgado, a father holidaying at sea with his daughters, 11-year-old Isabella (Audrina Miranda, Criminal Minds) and 18-year-old Teresa (Luna Blaise, Manifest), plus Teresa's boyfriend Xavier (David Iacono, Fear Street: Prom Queen). Their sailing getaway crosses paths with giant prehistoric critters of the deep, and with Zora and her crew's clandestine trip. Garcia-Rulfo partly credits Jurassic Park for him even being an actor. "The first one, the Spielberg one, it was such a big part of me. For me, films are like my second mother, my second school. I thought since I was a kid, I was a terrible student, and all I did was watch movies — and a big one was Jurassic Park. So now to be part of that, it's just very, very big for me." Also filled with affection, his Rebirth director admits that many of his features before now have all been secret attempts to make a Jurassic entry. "Well, it's just not so secret anymore, I think," Edwards advises. [caption id="attachment_1012234" align="alignnone" width="1920"] Roy Rochlin/Getty Images for Universal Pictures and Amblin Entertainment[/caption] Those throwback-style leanings to Jurassic World Rebirth's story aren't just a case of a filmmaker getting a chance to pay tribute to something that he's long loved within its own realm, and doing so entertainingly, however. After respectively directing and adapting Jurassic Park and The Lost World, Steven Spielberg (The Fabelmans) and David Koepp (Black Bag) are back among the movie's team — one as an executive producer, the other penning the script. Accordingly, Edwards is working with the two figures who initially made movie magic from Michael Crichton's novel. Koepp's script delivers him the job of not only crafting a dinosaur action-adventure, though, but also a heist film with Krebs' mission, an anti-big pharma movie there as well, a family drama with Reuben and his children, an ocean creature feature at times, and a leap into sci-fi horror territory with a Frankenstein angle thanks to its new to genetically engineered dinosaurs, such as the Mutadon and the Distortus rex. With Edwards, Garcia-Rulfo and Friend, we chatted more about what it means to be part of this now 32-year-old franchise, working with Spielberg and Koepp, dreaming up new dinos, always grounding the tale in humans first and other topics — including its multiple-movies-in-one narrative, plus how nature's persistence remains pivotal. Yes, life keeps finding a way, just as it does in bringing all things Jurassic Park and Jurassic World back to cinemas. On Edwards Taking the Helm on a Franchise That He Grew Up with — and Has Said He's Been Trying to Secretly Make in All of His Other Films So Far Gareth: "I think it's like a coming out party where I can finally declare that Jurassic Park, it was just such an inspiration as a kid. I ended up buying a computer and learning how to do computer animation, and doing dinosaurs in my bedroom-type stuff — thinking 'oh, this is going to be the way you make films and if you learn how to do this, you'll be able to make a movie from home' kind of thing. Cut to 15 years later, I'm still doing visual effects, thinking I've wasted my life, I made a terrible mistake — but it actually turned out okay in the end, I think. I don't really understand how it led to this, but I feel like I'm in a simulation or something. I don't really know how it happened is the honest truth." On What Being Part of the Jurassic Park Franchise Means to Its Cast Manuel: "It's huge. For me, it's so big. So honestly, it's kind of overwhelming. I don't know if that's the word, but Jurassic Park really changed me — and, I guess, marked a generation — but it really changed me as a person. Meaning, when I saw it, I really wanted to be part of the films, of this industry, of that world. So now to be part of that franchise, which is one of the biggest franchises in cinema, I'm just really, really happy and grateful — and very happy with the result. I've seen it two times, the film, and it's so good — it's such a fun film." Rupert: "Yeah, likewise. Of any of the sort of super blockbuster franchises, I was always my favourite. I think the idea of exotic foreign locales plus that weird thing which is not science fiction, but it's not totally known to us — the world of dinosaurs. If you think about things that are set in space, that's sort of complete science fiction, and this always felt like the most-perfect hybrid. Aside from being made by Spielberg, who I've loved all my life, and Crichton, who I read when I was a child and continue to adore his writing. So to do it as a kind of brand-new venture within a familiar universe with this incredible new cast, new dinosaurs, Gareth Edwards at the helm, it was just the perfect melting pot." On How Working with Steven Spielberg and David Koepp, Who Started the Film Franchise Three Decades Ago, Assists When You're Directing the Saga's Sixth Sequel Gareth: "It was the key to everything. Essentially, Steven had kind of come up with the whole premise with David Koepp, figured out the storyline. And then David, I think, wrote a first draft and that got greenlit. It was a really fast process. I think it existed in December and by March I was going to meetings at Universal. And then we did this movie in a year and a quarter. Normally on a giant film like this, you have two-and-a-half years — and this is half the amount of time. My editor, he put a sign up on the edit suite, a quote — I think it's from Leonard Bernstein — and it said something like "art is when you have a plan and not quite enough time". It's like having a gun at your head. It's really interesting, because it makes — you can't second guess yourself. Everyone who worked on the movie had to just go with their first instincts first time. And there was no messing around. If anyone got in the way of anything, the film wouldn't make the release date. And weirdly, looking back now, I kind of feel like 'okay, my next contract, if I ever make another film, I'm going to tell them to take the schedule and halve it' — because I think it leads to a more interesting result. It's like you just have to go with your gut." On the Importance of Jurassic World Rebirth Grounding Its Dinosaur Adventure in Its Human Characters Manuel: "I think that's the most important for me. That's what really drew me to the story. And I really believe that Gareth was the perfect one. I recently, before being cast, I watched his latest film, which was The Creator, and it really made me want to see all his films. And he's a perfect director that works with science fiction, even though this is different. But he never loses the element of humanity in his stories. And I think this is for me, it's just the heart of the film. Otherwise you don't care for the characters. And again, I think this movie has not just very scary moments, but a lot of heart because of the characters." On Whether It's a Dream Come True Getting to Create New Dinosaurs — Creatures Literally Whipped Up in a Lab — for a Jurassic Movie Gareth: "I love monsters. And I love, obviously, when you get given the task of designing a monster for some reason — it's also one of the hardest things you can do, because there's so many great monsters that have already been done. There was a concept artist I worked with who did the Joker's mask in The Dark Knight and stuff like that, and he said it's like trying to find the last carpark space in the Disney World carpark or something — where you're going around, you know it's there somewhere, there is a new monster that's not been done, but everywhere you go, you go 'well, that's been done, that's been done, that's been done'. And so what you end up in a situation is, sometimes, like real animals, like breeding things. So it was a bit like the rancor monster from Star Wars had a sexual relationship with the HR Giger's alien, and had a little kid that was like a T. rex. And then what's interesting is, then the animators have to animate that stuff, and one of the questions they ask you is 'if this was a real character from a real film, who would it be?' — so we just get the personality across. And it was a tricky question. For the D. rex, the big, massive dinosaur you see on the posters, it was like 'well, go rewatch The Elephant Man'. Because I felt like that was kind of where I was imagining it in my head — is that something where you had a little bit of empathy for them as well. It wasn't just a monster. And it makes the audience feel a little bit more uncomfortable because they can't just want to kill this thing." On the Idea of Nature's Persistence Being So Pivotal to the Film Rupert: "Life finds a way. Certainly all the characters in this film have a temerity and a tenacity to survive — and in the case of the family, to survive as a team; and in the case of the more bounty-hunter gang, to complete the mission as well as survive. And in terms of the dinosaurs as well, we see the laboratory now ruined from which they escaped, and that's a perfect visual metaphor for life finding a way. Even if it's locked up in some laboratory on a remote island, eventually evolution will have its day." On What Excites Edwards About Getting the Chance to Add His Voice and Vision to Big Beloved Franchises, Including Godzilla and Rogue One: A Star Wars Story in the Past Gareth: "It's funny because it does feel a bit like — when I grew up, the films that were being made were all very original movies. Every single one of them. What we call a franchise now was at one point original. And so there's half of me that's like 'what's the matter? What's going on? Why is it all franchises and IPs?'. And then you start to realise that what's probably going on is it's a little bit like a mythical story. Like, for hundreds of thousands of years, you'd be a little kid around the campfire, and some elder would tell you this tale about how they went off over the hill and fought some animal and came back with all the things for the village. And you would hear that story and go 'oh wow, that's amazing'. And then one day as you got older, you would then want to tell that story to the little kids around the campfire. I feel like that's what a franchise is, a good one — it's like a modern myth. And what you're doing is you're getting the chance to retell that thematic mythology. I'm basically being allowed to take one of these things that I grew up around the campfire loving and made me want to tell stories, and now I get to tell it, but put your own spin on it and add a few things and all that sort of stuff. And so I just think it's a modern version of that. For instance, when we were shooting or editing the film, Jonathan Bailey was in Richard II, the Shakespeare play in London. And I was sitting in the audience, because I went to see it with him, and thinking 'this is like a franchise, really'. Like Shakespeare, everyone comes along and they do their version of it, and retell it and make a new film or make a new play, and no one thinks twice about it. Everyone's very happy. And they're really like franchises or IPs. And when you get the right idea and the right ingredients and everyone's excited about it like Jurassic Park, then it sort of catches fire, and then it's something that — it's like there's this thing, and you can remake it and retell it, and there's offshoot ideas and storylines or different takes on it. And dinosaurs, I think, are very embedded genetically in being human. To have that reaction to an animal that might come and kill someone we love at any moment, I think it's very hardwired in us. And so it's not going anywhere. I think dinosaur stories and films are so primal, they'll keep happening as long as there are people in the world." On What Interested Garcia-Rulfo About His Character's Ocean Survival Thriller-Meets-Family Drama Journey Manuel: "Personally, everything. I mean, being part of the franchise, knowing that Gareth was going to direct, knowing that all these amazing actors — Scarlett, Rupert and Mahershala — were going to be in it, knowing that David wrote the script again. So it was all those elements. But also, I really, when I read it, it really fell in love with the story of the family — because, for me, it's like the heart of the film, especially because there's a little kid. So that becomes very vulnerable. It's like the most-vulnerable character of the film. So everybody's going to want to care for her or want her to be okay. And so I fell in love with it. I fell in love with this guy, with this father, knowing nothing about survival or dinosaurs and all this, and having just to protect the loved ones and being this journey. And I think that was fascinating, and I loved it." On Friend's Task Playing a Big Pharma Representative Chasing Something That'll Both Change Human Existence and Bring in a Huge Profit Rupert: "I think it's a balancing act for Krebs, and the film is definitely interested in exploring that. At the head of the film, Scarlett's character, Mahershala's character and my character are all in it for pretty much the same reason — it's just that there is an overarching validation of that reason. It's not just 'get money to sock it away under your bed'. It's to do something that is altruistic. And I think that that motivation evolves and changes for the characters as it goes along. But yeah, it's a fascinating dichotomy, for sure." On Jurassic World Rebirth Playing Like a Few Different Movies in One, From Creature Feature and Frankenstein-Esque Sci-Fi Horror to Family Drama, Heist Flick and Anti-Big Pharma Film Gareth: "It was like having a bunch of kids, in that one kid grows up really well and becomes really strong and you go 'oh, this is really working, this section of the film' — and so then it was my job to then look at another section and go 'okay, let's make this better, let's help this one and refine it and try to add ideas' until that was now competing with the other one. And so you're basically moving around the whole movie, trying to take each sequence and elevate it, and just make it as strong as the others. And so yeah, that was my job mainly on the film, because there were some really strong ideas in there. Like visually, when I read the script, the section where there's a T. rex chasing a family in a raft, I was like 'well, that's worth directing the movie just for this sequence'. It's a kind of killer visual that's going to definitely work. And so then it's like 'okay, well, my job is now to make sure all these other sequences around it are as good as that'. And so it was really tricky, because it's the highest of high bars to compete with Jurassic Park. It's a masterpiece of filmmaking. And ultimately, you can't compete with it. It's a moment in cinema that you're never going to get again, where the world got to see dinosaurs for the very first time. But so what we did do is go 'well, let's imagine that we made this movie back then' — like we shot this in the early 90s. It has all that flavour of the original. And for whatever reason, Universal went 'okay, well, we've got this big dinosaur [movie] this summer, this Jurassic Park film, so we're going to put this in the vault, on the shelf, for a second', and then they forgot they'd done that. And then suddenly, in like 2025, they go 'oh my god, we completely forgot we made this movie' and they decided to release it. We wanted it to feel like a throwback to something of that kind of movie we grew up loving as kids." Jurassic World Rebirth released in cinemas Down Under on Thursday, July 3, 2025.
If you just can't wait to spend more time in the photorealistic version of The Lion King's world, here comes a film about the lion that's king of the Pride Lands before Simba gets the job. Mufasa: The Lion King is again styled to look like reality, not animation — and, set to arrive in cinemas Down Under in December 2024, it gives 2019's The Lion King, a remake of the 90s animated hit, a prequel. It also just dropped its first teaser trailer. Call it the circle of cinema. Call it the movie that was always bound to happen once technology was rolled out to bring this beloved franchise back to the screen with visuals that make its animals appear as if they've walked out of a documentary (well, almost, as the last film demonstrated). Donald Glover (Mr & Mrs Smith), Beyoncé, Seth Rogen (Dumb Money), Billy Eichner (Bros) and John Kani (Murder Mystery 2) are all back from the past flick, reprising their roles as Simba, Nala, Pumbaa, Timon and Rafiki. But as the feature's moniker makes plain, this isn't any of those characters' tales. Mufasa, aka Simba's father, sits at the centre of a picture directed by Moonlight Oscar-winner Barry Jenkins. The movie is presented as a story told by Rafiki, Timon and Pumbaa to Kiara, the daughter of Simba and Nala, who is voiced by Blue Ivy Carter. So goes a narrative about an orphaned cub who is taken in by a lion with royal blood, then set on a path that leads to the events of The Lion King. Among the voice cast, Aaron Pierre (Foe) does the honours as Mufasa. Kelvin Harrison Jr is Taka (Chevalier), the lion prince who takes Mufasa in like a brother. Tiffany Boone (Hunters), Mads Mikkelsen (Indiana Jones and the Dial of Destiny), Thandiwe Newton (Chicken Run: Dawn of the Nugget), Lennie James (Genius), Anika Noni Rose (Pantheon), Keith David (Rick and Morty), Kagiso Lediga (The Umbrella Men) and Preston Nyman (A Small Light) also lend their vocals to the flick. As well as Jenkins, Mufasa: The Lion King boasts another huge off-screen name, with Hamilton great Lin-Manuel Miranda writing the movie's tunes. "Elton John. Tim Rice. Hans Zimmer. Lebo M. Mark Mancina. Beyoncé, Labrinth, Ilya Salmanzadeh. Beau Black, Ford Riley, the incredible music team on The Lion Guard, and so many musical contributors over the years. The Lion King has an incredible musical legacy with music from some of the greatest songwriters around, and I'm humbled and proud to be a part of it," said Miranda. "It's been a joy working alongside Barry Jenkins to bring Mufasa's story to life, and we can't wait for audiences to experience this film in theatres." Check out the first trailer for Mufasa: The Lion King below: Mufasa: The Lion King releases in cinemas Down Under on Thursday, December 19, 2024. Images: courtesy of Disney. © 2024 Disney Enterprises Inc. All Rights Reserved.
If your love for our national spread goes far beyond merely smearing it onto your toast every morning, this may be the perfect getaway for you. A Vegemite jar-shaped tiny house, called the Vegemite Villa, is popping up in NSW for two nights this December. The four-metre-high and two-metre-wide cabin can sleep two and is filled with some Mitey-fine paraphernalia — think Vegemite-themed socks, slippers, eye masks and an alarm clock, shelves lined with jars of actual Vegemite and even a bed that looks like Vegemite on toast. Spend a night here and you'll be a very happy little Vegemite. The jar-shaped cabin will pop up in Brogo, NSW, near the home of Vegemite's parent company and Aussie dairy giant Bega Cheese. If you do manage to snag one of the two nights here — December 6 and 7, available to book exclusively through Booking.com — you'll need to prepare yourself for a decent drive. Brogo is located a 5.5-hour drive south of Sydney or a 7.5-hour drive north of Melbourne. This isn't the first time Booking.com has created an OTT getaway, either, with the digital travel company previously setting up an Avo-Condo (yes, a tiny home shaped like an avocado) in Circular Quay last July. The Vegemite Villa is popping up at 610 Warrigal Range Road, Brogo, NSW from December 6–7, 2019. A night in the villa will set you back $89, with bookings opening at 10am AEST on Wednesday, December 4 via Booking.com.
Sometimes you just want to get away from it all. Luckily, New Zealand's watery borders are home to around 600 islands that offer a unique blend of peace and tranquility, stunning scenery and adventure too. Make a beeline for one of the accessible island escapes below. Time your visit right to avoid the crowds and you might even manage to have an island practically all to yourself. Here are five islands where you'll find wildlife reserves for spotting kiwi in their natural habitat and island dark sky sanctuaries perfect for stargazing up into the universe. [caption id="attachment_986097" align="alignnone" width="2000"] Matt Crawford[/caption] Stewart Island/Rakiura Off the southern coast of South Island lies New Zealand's third largest island, Stewart Island/Rakiura. Over 85 percent of the island is designated National Park land and unspoiled nature with rare wildlife is what to expect down here. Despite its size, settlement on Stewart Island is sparse and the only place to stay is in Oban (also known as Halfmoon Bay) where you won't ever be too far from the island's pristine natural environment. Getting to the southernmost island of New Zealand is an adventure in and of itself, with ferries serving as one of the main ways to arrive. If the thought of travelling by boat makes you feel queasy, you can always fly in too. [caption id="attachment_986589" align="alignnone" width="1920"] Alistair Guthrie[/caption] Bay of Islands Just a three-hour drive or a 50-minute flight from Auckland is the Bay of Islands, a breathtaking destination where you'll discover sleepy towns that roll on to crystal-clear inlets, more than 144 undeveloped islands up for exploration as well as water activities and vineyards to fill your days. Roberton Island (Motuarohia) is a 20-minute boat ride from Paihia or Russell and is best known for its stunning blue water lagoons and snorkelling trail. The luxury Cook's Cove Retreat is one of five houses on the island that can be hired for overnight getaways. The eight-person resort is found in a peaceful private bay. From there you can bushwalk to historic Māori sites, explore underwater marine reserves, or set off via kayak from the private jetty. [caption id="attachment_986579" align="alignnone" width="1920"] Scott Venning[/caption] Great Barrier Island/Aotea Great Barrier Island (Aotea) is the fourth largest island in New Zealand. A 30-minute flight or four-hour boat ride from Auckland will bring you to the rugged wilderness where spectacular fishing, natural hot springs and first-class surfing spots await. Away from the light pollution of Auckland, the off-the-grid island is also one of four dark sky sanctuaries, and the only officially recognised island dark sky sanctuary in the world. [caption id="attachment_663062" align="alignnone" width="1920"] Miles Holden.[/caption] Waiheke Island An escape to New Zealand's Waiheke Island feels miles away from the bustle of central Auckland, though it's only a quick ferry ride from downtown. It's an island of varying landscape, with the turquoise-blue waters of the coast giving way to rolling green hills inland. This gives visitors endless options, too — from bushwalks and beaches to art galleries and, most notably, the plentiful wineries on offer. The whole island is easily explored by bus or bike, and trips from the vines of one winery to the next take only a traipse through the vineyard. Mudbrick is a standout, with stunning views back to Auckland city and top-shelf wines and dining options.You could spend a week here and still not hit all of the artisanal producers dotting the island. Join an art walking tour, try your hand at archery or distil your own bespoke gin, just to name a few things waiting for you on this wine island. Waiheke is the most densely populated island with over 8000 permanent residents. Kapiti Island This wildlife sanctuary off the Kapiti Coast is home to rare species such as the flightless takahē, white faced heron and kākā. You can visit the island for a self-guided day tour, or spend the night and enjoy local hospitality — while keeping an eye out for kiwi in their natural habitat. Kapiti is home to over 1200 little spotted kiwi, making it one of the most reliable opportunities to see them in the wild. There are three accommodation options including private glamping tents, native timber cabins and a Kiwi-style bach offering ocean views out across Waiorua Bay. Find your very own Aotearoa New Zealand here. Top image: Slipper Island Resort.
It has been more than six months since the Australian Government introduced an effective ban on international travel in an attempt to stop the spread of COVID-19 within the country. And, over that time, there has been plenty of speculation about when jetting overseas might resume — including predictions that the entire global travel industry mightn't return to normal until 2023, and that Australia's borders could remain closed until 2021. When it comes to Australia's prolonged border closure, an exception has been floated, however. Receiving ample chatter over the past few months is the concept of a travel bubble with New Zealand, which would allow international travel between the two countries, even as they potentially remain closed to other nations. Now, the first stage of the bubble has been announced — but, sadly for some, it's only one way. In a media appearance today, Friday, October 2, Australia's Deputy Prime Minister Michael McCormack announced that New Zealanders will be allowed to visit New South Wales and the Northern Territory, without having to quarantine on arrival, from 12.01am on Friday, October 16. "This will allow New Zealanders and other residents in New Zealand who have not been in an area designated as a COVID-19 hot spot in New Zealand in the preceding 14 days to travel quarantine free to Australia," McCormack said today. [caption id="attachment_773731" align="alignnone" width="1920"] NT by Tourism Australia[/caption] The Deputy PM also said he hopes this is just the start of the two-country travel bubble, hinting to it expanding to further parts of Australia in the near future. "This is the first stage in what we hope to see as a trans-Tasman bubble between the two countries, not just that state and that territory," he said. Responding to the announcement, a spokesperson for New Zealand Prime Minister Jacinda Arden said the travel arrangements have not changed for New Zealanders. Which means, travellers to Australia would need to enter 14 days of managed isolation on return to NZ — and pay for it. Unfortunately, as mentioned, this is currently a one-way travel bubble, so Aussies shouldn't rush to book a holiday across the ditch — just yet. The ABC reported earlier in the week that Ardern had mentioned that travel from Australia to NZ might be possible on a state-by-state basis before Christmas. Here's hoping. To find out more about the status of COVID-19 in Australia and how to protect yourself, head to the Australian Government Department of Health's website. To find out more about the virus and travel restrictions in New Zealand, head over to the NZ Government's COVID-19 hub.
Have you ever been half way through the work week and fantasised about living a simple life? Perhaps you've been dreaming about waking up in a timber cottage with nothing but rolling hills as far as the eye can see? Well, luckily for you, there's a small collection of architecturally designed houses on vineyards and cabins set amongst idyllic gardens in New South Wales — perfect for your next serene weekend venture. To help you live out your dungaree wearing, straw chewing, horse riding dreams, here's a list of the most charming farm stays across NSW you can book right now. Recommended reads: The Best Glamping Sites in NSW The Best Hotels in Sydney The Best Luxury Getaways From Sydney The Best Places to Stay in the Blue Mountains The Blacksmith's Luxury Cabin, Bellbrook Perfect for a rejuvenating and relaxing getaway. Situated on a regenerative organic farm, you can preorder hampers filled with the farm's fresh produce, book meditation sessions at the nearby "spirit pools", one-on-one yoga classes, massages, and Ayurvedic diet coaching. From $250 a night, sleeps two. The Gate House by Yeates Wines, Eurunderee This architecturally designed, split-level farm stay shares a backyard with Yeates Wines cellar door, so expect a complimentary wine tasting on arrival. It also boasts high ceilings, a slow combustion fireplace, a kingsize bed and sprawling views of the vineyard. From $390 a night, sleeps two. Jaguar Stay, Mogo One of three adult-only luxury villas on the property, all of which have their own plunge pools. Jaguar Stay is close to nearby South Coast beaches and is directly next to Mogo Wildlife Park, a small, privately owned zoo, so you'll be waking up to the sound of exotic animals. From $575 a night, sleeps two. Rustic Country Escape, Tenterfield An idyllic cottage situated on a creek with homely, rustic interior styling in the Northern Highlands. Set amongst picturesque gardens with a view of the adjacent farm, this farm stay is the perfect spot to switch off and unwind. From $247 a night, sleeps two. Vibrant Meadow Lodge, Far Meadow Gaze across the rolling countryside while lounging by the pool in this quaint and summer-heat-friendly cottage. Inside, cook up a feast in the bright and colourful country kitchen. From $399 a night, sleeps five. Kestrel Nest Ecohut, Mount Adrah Halfway between Sydney and Melbourne, this eco-hut is nestled above a rocky mountain stream on the edge of rolling farmland and a conservation area, with an outdoor bathtub, a fireplace and firepit. From $460 a night, sleeps four. The Shearing Shed, Cowra A charming renovated shearing shed with an open-plan living room. Five kilometres from historically rich Wiradjuri Country (Cowra), what was once a vibrant area during the Gold Rush era. From $250 a night, sleeps two The Loft, Kyangatha The perfect farm stay for animal lovers, this two-level timber loft is set in a paddock with two horses, a small herd of cows and free-range ducks. It also has outdoor shower, a galley-style kitchen and a river on its doorstep. From $195 a night, sleeps three. Kumbogie Cabin, Daruka Situated on a working sheep farm, this eco-friendly retreat is as secluded as they come. Kumbogie Cabin is 900 metres from any neighbours that aren't the kangaroos, wallabies, birds and echidnas that frequent the surrounding bushland. From $150 a night, sleeps two. Luxurious Farm Stay, Peak Hill A renovated two-bedroom 70-year old shearing shed with French doors leading onto decks with views across the 118-year old property. Offers a family-sized barbecue for open-air cooking, and an outdoor bar to match. From $240 a night, sleeps five. All photos courtesy of Airbnb. FYI, this story includes some affiliate links. These don't influence any of our recommendations or content, but they may make us a small commission. For more info, see Concrete Playground's editorial policy.
UPDATE MARCH 30, 2017: Suey Sins owner Eli West has responded by posting a statement on Facebook. Over the past week Suey Sins has been subject to criticism regarding its concept and theme. I acknowledge all of the raised concerns and feedback surrounding Suey Sins theming, as well as those who have voiced their opinions. I apologise unreservedly for any offence caused. I would also like to emphasise that it was never our intention to upset or offend. The theme and character Suey Sin is fictitious, however I understand that offence has been taken to image references made of Anna May Wong. Further, whilst I acknowledge there has been offence taken in regards to images of staff members wearing the traditional Qipao dress these were for our annual Chinese New Year party and opening week of trade. Circulating images portray only a small portion of our multicultural team. As a young female leading a predominantly female team the glorification and exploitation of women of any culture is not something I condone or intended in Suey Sins theming. The voices of those offended have been heard and as a team we will be taking action to remove image references of Anna May Wong. Due to the nature of the comments on the said original image of Suey Sins staff members, we did out of a duty of care for our staff remove the image from Facebook shortly after the comments no longer remained constructive In an increasingly globalised world, and multicultural society like Australia it is important we continue to share, embrace and exchange other cultures with one another, which is what Suey Sins sought out to do and will continue to do. Again, I sincerely apologise for any offence that has occurred. Should you wish to provide any further feedback of a constructive nature please continue to inbox these through. Thank you for your understanding. In the time elapsed between launching earlier this month and opening their doors this morning, Sydney cocktail bar Suey Sins has placed itself firmly at the centre of public debates surrounding cultural appropriation, deeply rooted racism, and media ethics. While the venue's owner, 25-year-old entrepreneur Eli West, has said that she was aiming for an "old world charm" theme, members of the public have struck out on social media, saying that the apparent "sexy, pre-war Shanghai" theme is nothing more than wanton cultural appropriation, and nothing less than subtle racism that ignores the dark reality of Chinese culture during the British colonial era. While West initially stated in one of the bar's press releases that she wanted to open a bar that "doesn't take it-self [sic] too seriously," public reaction has suggested that perhaps it would have been more prudent to take cultural appropriation at least a little bit seriously. While the Chinese mainland was never colonised by the British, the effects of imperialism shaped China's culture, especially in the wake of the Opium Wars, and the Boxer Rebellion. With particular reference to the bar's staff uniform (traditional qipaos/cheongsams), activity on social media, and the thematic styling of the venue, Suey Sins has been accused of "continuing negative colonial ideologies", and "racist fetishisation of a marginalised women [sic] for a dollar" on their Facebook page. Suey Sins' initial press release stated that the the name for the venue comes from a "famous Shanghai call-girl ... a quintessential icon of the 'Shanghai Naughties'." "I have spent most of my life travelling in Indonesia, and have some Chinese heritage and I like to think I may be related to a character very similar to Suey Sin," explained West in the same press release. "I love the idea of this seductive, alluring woman who had old world charm and poise but also knew exactly what she wanted and how to get it. I see a bit of that in myself and the young women who will drink here." Unfortunately, as Pedestrian reported yesterday, the search for the existence of a "famous Shanghai call-girl" called Suey Sin has been somewhat fruitless. Routledge Handbook of the Chinese Diaspora, edited by Chee-Beng Tan, suggests Suey Sin was a Chinese woman working in the film industry in Los Angeles in the 1920s. So, not pre-war Shanghai, or a 'call girl', but the timing is right. On the walls of the venue, there is also a collage of Chinese-American actress Anna May Wong who, during her illustrious career, was passed over for a role playing a Chinese woman by MGM in 1935 in favour of German actress, Luise Rainer. Compounding the backlash the venue has faced, management has taken to deleting negative comments and reviews from their Facebook page (a significantly problematic no-no), and offering a pallid ghost of an apology that focuses on their mission to "create a venue that focuses on delicious Asian fusion inspired street style food and creative beverages for all to enjoy". The apology doesn't touch on the issues with the thematics and styling of the venue from whence the backlash originated. From the mural (and bar logo) featuring a naked woman, to the implication that rampant prostitution that catered for increased global trade (and traders) in China at the time was "seductive" and "alluring", public opinion has been that the bar ignores the fact that portraying Chinese women as nothing more than sex objects is damaging to both Chinese culture, and to the cultural status of women. Here are the staff in their Suey Sins uniform: And, for the record, this is how the bar is marketing their menu on Instagram (and quietly, mie goreng is Indonesian. Mee goreng is the Malaysian spelling of an Indonesian dish, although the dish is, granted, derived from Chinese chow mein): MEE-please, MEE-so hungry, MEE-Goreng Spring Rolls! Another Suey Signature dish #sueysins A post shared by Suey Sins (@sueysins) on Mar 16, 2017 at 1:27am PDT Chinese history during the 1920s is not best characterised as "sexy" or "old world", but is instead more appropriately viewed through the lens of the warring political ideologies that shaped the country. In 1923, civil war started brewing as Chinese nationalists clashed with the growing Communist party. The civil war, in part, came about as a result of the power vacuum left by the abdication of the last emperor, Puyi, in 1912. The last Qing emperor's abdication led to decades of warlord factionalism and a civil war that technically still hasn't ended. It would be unfair and incorrect to suggest that West intended for her bar to offend, as it's always a bad business to open a venue that people won't like. However, considering the reaction the public has had, current debates surrounding the alteration of Section 18C of the Racial Discrimination Act, Hollywood 'whitewashing' in films such as Ghost in the Shell, and the misrepresentation of women in both media and society, offence has been caused and documented, despite the dubious strategy of removing negative comments on social media. At the time of writing, The Social Group, who runs the publicity for Suey Sins, informed us that the venue did not wish to comment at this stage. UPDATE MARCH 25, 2017: Routledge Handbook of the Chinese Diaspora, edited by Chee-Beng Tan, suggests Suey Sin was a Chinese woman working in the film industry in Los Angeles in the 1920s. So, not pre-war Shanghai, or a 'call girl', but the timing is right. This article has been updated to reflect this.
He's famous for a series about nothing. He's now heading Down Under to share something: Jerry Seinfeld, that is, with the comedian just announcing Australia and New Zealand dates for his latest stand-up show. Instead of rewatching old Seinfeld episodes for approximately the 75th time, you can catch the iconic talent on a seven-city trip that marks his first visit since 2017. Those gigs sold out faster than a Seinfeld character can say "what's the deal?", and expect tickets to his 2024 trip to get snapped up quickly as well. Mark June in your calendar, as that's when Seinfeld will be going all "yada yada yada" in Perth, Sydney, Brisbane, Adelaide and Melbourne in Australia, plus Auckland and Christchurch in Aotearoa. So far, every city scores one show except Melbourne, where Seinfeld will take to the stage for two nights. Back in 1998, he called the Victorian capital the "anus" of the world — but perhaps his feelings have now changed. In NZ, Seinfeld's Christchurch stop will mark his first ever in the city — with Auckland a return to the spot where he played his debut New Zealand gig in 2017. [caption id="attachment_925505" align="alignnone" width="1920"] Raph_PH via Wikimedia Commons[/caption] "I can't wait to bring the laughs Down Under once again," said Seinfeld about his next trip our way, which comes 43 years after he initially appeared on The Tonight Show with Johnny Carson and 35 years since Seinfeld — which was co-created by its namesake and Larry David — premiered. His career also spans everything from web series Comedians in Cars Getting Coffee, films such as Comedian and Bee Movie — with a new flick Unfrosted: The Pop-Tart Story on the way — and books Is this Anything? and Seinlanguage. And yes, we're assuming that he won't be stepping behind the microphone wearing a puffy shirt. JERRY SEINFELD AUSTRALIA AND NEW ZEALAND TOUR 2024 DATES: Saturday, June 15 — RAC Arena, Perth Sunday, June 16 — Qudos Bank Arena, Sydney Wednesday, June 19 — Brisbane Entertainment Centre, Brisbane Thursday, June 20 — Adelaide Entertainment Centre, Adelaide Saturday, June 22–Sunday, June 23 — Rod Laver Arena, Melbourne Monday, June 24 — Spark Arena, Auckland Wednesday, June 26 — Wolfbrook Arena, Christchurch Jerry Seinfeld is touring Australia and New Zealand in June 2024, with Telstra presales from 12pm local time on Tuesday, November 14 TEG Dainty presales from 1pm local time on Thursday, November 16 and general sales from 12pm local time on Friday, November 17 — head to the tour website for further details. Top image: Raph_PH via Wikimedia Commons.
With its frames filled with teenagers and 20-somethings driving across America in search of a different life, watching American Honey feels like tagging along on a road trip. Many movies have charted characters coming of age as they traverse streets and highways and varying landscapes, but, with this film, Fish Tank and Wuthering Heights writer-director Andrea Arnold wants audiences to feel — rather than simply observe — the journey that results. "It's like an experience, rather than like a film," offers actor Riley Keough. After rocking out in The Runaways, racing through the desert in Mad Max: Fury Road, and starring in the television remake of The Girlfriend Experience, Keough plays the tough-talking, no-nonsense, money-focused Krystal, the leader of a crew that ventures from town to town and door to door selling magazine subscriptions. Jake (Shia LaBeouf) is the closest she has to a second-in-charge — and he's the reason that 18-year-old Star (Sasha Lane) decides to join the group, lured in by his charm, epic rat-tail and Rihanna-inspired dance moves. Theirs is a careening trek, with Star's entry into this brave new world the focal point. Mile by mile, they encounter privilege and poverty, kind and cruel passers-by, and new revelations about themselves and others, all set to an eclectic rock, pop and hip hop soundtrack. Populated by a mostly non-professional cast (who largely improvise dialogue), Arnold's film was shot on the road and in sequence — meaning that it replicates reality as much as possible. With American Honey now screening in Australian cinemas, we spoke with Keough about living rather than acting her part, seeking out complicated roles and making a movie that touches people. ON WANTING TO BE A PART OF AMERICAN HONEY "Well, I heard that Andrea [Arnold] was making a film, and I was a really huge fan of her. And I went and met the casting person, and it was a bit of a different casting experience. I was just kind of, I was very persistent on wanting to do everything I could to be able to be in this film, I guess. I knew that she liked to work with non-actors. I knew it was going to be wild. I knew it was going to be like, you know, a once in a lifetime kind of experience. So I was just kind of like, 'I'll do anything I can to come with you.'" ON MAKING A MOVIE IN SEQUENCE ON THE ROAD "She [Arnold] gave us a situation where we were allowed to just exist as these people, and it wasn't like something that a movie normally is. You kind of just had to take it day by day, and see what happens. It was like she was writing our lives for us, sort of, day by day. It was in sequence, and we wouldn't know what was happening until the day of. I don't think any day was the same. You get picked up, you go do your thing, you go back to your motel. There was no line or boundary between anything really. It was all just kind of what you see in the film. Everything she captured was real. I don't think people really knew either when she was rolling and when she wasn't." ON ACTING WITHOUT FEELING LIKE ACTING "There weren't really any acting choices. The thing is, when you're acting with non-actors or children, you can't really have an acting choice. You can't really act. You're forced to really open up to the scenario, which is what I think everyone's looking for, which is non-acting. You know what I mean? If I could do it on every film, I would, because it's what you're looking for when you're working with actors on every film. Because for us to be fully present and spontaneous and not have to have any attention on anything going on around us — it's a really magical thing to me. I prefer it that way, because there's not a lot of thought, there's not a lot of heavy intellectualising about every single thing that's happening. It just kind of really allowed us to exist in the moment and not feel like you're making a movie, which is kind of what you're always trying to not feel like, you know." ON SEEKING OUT STRONG, INTERESTING DEPICTIONS OF WOMEN "I definitely try to avoid a cookie cutter woman at all costs, just because I don't find that interesting. The normal characters that are written for women that are a bit two-dimensional — I definitely want to avoid that because I don't like doing that. I don't think any woman likes that. It's just like, a lot of the types of roles that are written for women are supporting the narrative in some way, and writers don't really want to go in deep on who these people are. And Andrea's amazing at that, in all of her films. Every little person, you know, they're so complicated. I think that's what makes her films so full of life. I look for something that I've never done before, whether it's the tone of the film, or the style or the character, or all of it. Just things I haven't done before, you know. But also, I like strong women." ON REACTIONS TO THE FILM "I have a lot of people walk up to me on the street or in the store and be like 'American Honey!'. I can see it in their eyes, how much they enjoyed watching the film. And I've never had that as an actress before. I have a couple of times, with Fury Road and GFE [The Girlfriend Experience], but with American Honey it was in a different way. I could tell it really touched people in the way that films touched me when I was teenager. I think it really touches people's sort of core. And that, to me, we've done something to the audience, which is kind of what you're always trying to achieve. So, I don't know how to really describe it, but it's kind of like what we always want to be doing with art. I think it happens a lot with singers, where they see sort of a more clear version of it. They listen to your song, and people are like 'oh this song got me through this thing.' It's very like clear version of art touching someone in a way, and I think American Honey is really getting to that sort of place in people's souls. It's just been a really cool thing to watch." American Honey is now screening in Australian cinemas. You can read our review here.
"I do love this film." So advises Bob Odenkirk, exclaiming his fondness for Nobody 2 as soon as he starts chatting with Concrete Playground. As evident to everyone who sees the sequel to Nobody, that affection is already splashed across the screen. The same proved true in 2021, too, when the franchise's first movie initially gave its star a chance to switch up from leading one of TV's greatest-ever tragedies and series overall, aka Better Call Saul, with a jump into action mode. His task: playing Hutch Mansell, a seemingly ordinary suburban dad with a past that meant that he was never going to let gun-wielding thieves break into his home and upset his family life with his wife Becca (Connie Nielsen, Gladiator II) and their two children (Law & Order Toronto: Criminal Intent's Gage Munroe and Harland Manor's Paisley Cadorath) without making those responsible pay for it. The debut picture set Hutch against the Russian mafia, all to take care of his loved ones. That isn't Mr Show with Bob and David and Breaking Bad alum Odenkirk's IRL path at all, but elements of Nobody were indeed personal. The idea to begin with started with him in his prime Saul Goodman/Jimmy McGill/Gene Takovic days. And, as the Nobody 2 director Timo Tjahjanto (The Shadow Strays) explained back when the sequel's initial trailer dropped, "the first film is also sort of based on what happened to Bob in real life — the whole idea that he was confronting this thing that happened in his house, when somebody broke into his house. So he exorcised that sort of, I guess, trauma, by writing a script or writing a story." Four years later, with a movie that follows the Mansells on vacation to Plummerville — Hutch's dad David (Christopher Lloyd, Wednesday) included — this is still a action-flick saga with IRL connectioms for its lead. In his childhood, Odenkirk once went on a similar getaway. Again, the exact scenario that awaits Hutch isn't how its star's real life panned out; however, links to reality remain, including in exploring Plummerville's criminal element. Getting personal and relatable has always been baked into the Nobody films as well in a broader sense, given that both hone in on someone trying to do the best for their nearest and dearest. That's Hutch's emotional journey. Crucially for Nielsen, she tells us, the same applies to Becca. Nobody 2 kicks off pre-holiday, with Hutch working off his $30-million mob debt from the feature's predecessor, and barely spending time at home as a result. Becca isn't thrilled. Cue the trip, at Hutch's suggestion, to Plummerville's Wild Bill's Majestic Midway and Waterpark — a place with youthful memories for the film's protagonist. Of course, running afoul of the corrupt owner of the local theme park (John Ortiz, The Madness), a take-no-prisoners crime boss (Sharon Stone, The Flight Attendant) and underhanded law enforcement (with And Mrs' Colin Hanks as the sheriff) wasn't on anyone's dream vacation itinerary. Writing for Saturday Night Live, plus featuring in everything from Nebraska, Fargo, Little Women, Undone and Lucky Hank to The Bear and Glengarry Glen Ross on Broadway, are all on multiple Emmy-nominee Odenkirk's resume. Whether as Hutch in the Nobody films or as Jimmy-slash-Saul, he's been especially focused on bringing to life figures who refuse to get knocked down and stay down for over 15 years now, though — but that's a trait that he stresses he believes applies to everyone. Indeed, there's always a relatability-meets-wish fulfilment mix to Hutch, Becca and the situations they're in. Who can't relate to struggling with work-life balance, or their partner's lack thereof? Or a holiday not quite panning out the way you'd hoped and wanting to set that right? Or protecting those most important to you? Nobody 2 sees Nielsen on-trend in her own career. For the second time in less than a year, she's returning to a big-screen part. First came Lucilla in Gladiator II; now follows Becca. While both are formidable women, as she has played repeatedly across a career that started with screen roles in the 80s and also spans The Devil's Advocate, Rushmore, Brothers, Wonder Woman, Origin and plenty beyond, it is particularly satisfying and gratifying to portray someone who is meant to be an everywoman — as Hutch is an everyman — and who demonstrates that she too, like all women, can hold her own, she notes. Alongside digging into why Nobody 2 is personal, and its focus on family as well as everyday woes — amid and sometimes through the action setpieces — Odenkirk and Nielsen also chatted with us about the origins of all things Nobody, further fleshing out Becca's story in the sequel, tenacity and more. On Whether Odenkirk Was Keen to Find His Next Recurring Character Beyond Better Call Saul and Breaking Bad — and What He Was Looking For Bob: "I didn't really think on the grand scale that you've described to me. I was really thinking about how Better Call Saul, to my surprise, was pleasing people in countries around the world. I really was mystified initially that Better Call Saul played so well in Italy and Romania and Russia and even England — and everywhere. I actually asked a journalist in Europe 'how do you understand the show? Do you have lawyers like this?'. And they said 'well, we've seen a lot of American entertainment and we understand enough about American culture to understand who Saul is in his community, in his world'. And then I saw that it played in China, and it gave me the thought 'well, if I did an action film, that could play around the world, too' — because action is fairly simple and easy to follow. And the value or the kind of drive of the film is easy to relate to. So I asked my manager 'what about an action film?' — and I thought he'd laugh me off the phone, but he did not. He said 'I get what you're saying. That could work'." On Nielsen's Opportunity to Further Build and Flesh Out Becca Mansell in Nobody 2 Connie: "I think Bob is just such a generous writer. He just writes all these situations where the humanity of his wife is just so clear. There is a wisdom that he builds into Becca — and a zenness, like a knowingness, that I find so attractive about Becca. Becca is patient, but she's not long-suffering. The difference is huge. And she is critical but never blames, never uses blame. She holds him accountable for the sake of the family, for what's best for all of them, but not to control. So there's this wonderful way you can build a character, and I think that Bob just really writes that into Becca since day one. I remember the first time when I read the first script and the reason why I decided I wanted to do it, even though I knew that they wouldn't be developing Becca until the second installation — I just knew that I wanted to do it because there was this sensitive, beautiful scene of two people sleeping with a pillow in-between them. And they're both awake, and they just can't figure out how to how to ford that river between them. And I just thought that I've never seen that in an action movie, something as sensitive as that. And I just love that." On Nobody 2's Personal Ties for Odenkirk, as the First Nobody Also Sported Bob: "Nobody 2 is about a family going on vacation. When I was a kid, we went on two vacations: one to the Illinois State Fair and one to the Wisconsin Dells. And the Wisconsin Dells are just like Plummerville — or at least they were 35, well 45 years ago, when I went on vacation to them. They're mostly water-based. There's duck boats. There's a guy who owns all the attractions in town — just like Wyatt Martin, played by John Ortiz. Wisconsin is where Al Capone ran his booze through. He actually had a home there, in Lake Geneva, I believe. So all that stuff that The Barber [Colin Salmon, EastEnders] says to Hutch, 'used to be a bootlegging route' — that's true of this place where I used to go. All of that is true. The backroads of Wisconsin was where they ran alcohol up to Canada during prohibition, ran it out to the other states, ran it through to Wisconsin. So all that stuff is based on my memories of childhood — and also Derek Kolstad [John Wick], who wrote the movie, his memories. He grew up in Madison, Wisconsin, very close to the Wisconsin Dells. So yes, this movie too is connected to my personal experience." On Doing What's Best for Your Family Always Being at the Heart of the Nobody Films, Even as Action Movies Filled with Violence and Vengeance Connie: "It really is, and I think that that's what attracted me to the story — is that it always stays grounded in something real. There's a real family there, kids, and the real community as well. So I love it when you see writing that just makes the small things come alive, because they are the ones that we just inherently use to create reference points to who we are all the time, and I love that kind of writing." On What Appeals to Odenkirk About Playing Characters Who Refuse to Get Knocked Down and Stay Down, and Are Determined to Bounce Back Up However They Can Bob: "Well, you can say that they're special people or they're indefatigable spirits, but I actually think that's actually pretty common. Most people I know don't quit until they're forced to. They kind of just don't quit. People don't quit. Sometimes I think people are limited by what they imagine they'd be capable of. And that limits them more than their spirit of fighting. I think most people fight pretty hard." On What's Satisfying and Gratifying for Nielsen About Portraying Formidable But Also Relatable Women Connie: "I think the most important thing is really showing normal people trying to address the enormous difficulties of living. There's just so much stuff that's hard to do. Family is hard. Relationships are hard. Jobs are hard. And just showing that, I think, at the same time as you're also entertaining, I think that makes people feel like they're seen — that their lives make sense, because everybody is going through that. So I think I really respond to writing where I see a real human struggle, and I also see indicators for where it becomes meaningful — like, that struggle has meaning." Nobody 2 opened in cinemas Down Under on Thursday, August 14, 2025.
For over a decade, Blackbird has been a go-to spot in Brisbane for a top-quality steak, stylish cocktail and excellent river views. Now, the family-owned Ghanem Group is bringing this award-winning concept to Melbourne, with an attention-grabbing three-level site in the heart of the CBD. Coming soon to the Collins Place precinct, this second Blackbird location will maintain the essence of the original while adopting a distinctive Melburnian edge. It'll be the hospo group's third venue in Melbourne — it already counts Collingwood's American barbecue spot Le Bon Ton and the sleek riverside Lebanese venue Byblos as part of its southern stable. "We believe this is the right time and place for our Melbourne expansion," says Ghanem Group CEO, Vianna Joseph. "Blackbird Brisbane has just celebrated its tenth anniversary and has more than proved its credentials, gaining loyal corporate and leisure clientele, including many Victorian visitors. Bringing Blackbird to their own city makes perfect sense." With a June opening on the cards, a full-scale renovation of the space is being led by Gold Coast-based Space Cubed Design Studio, which has also designed a number of Ghanem Group's stylish Queensland venues including Donna Chang and Boom Boom Room. Encompassing a sophisticated restaurant, bar and event space, the refined offer is expected to slot effortlessly into the 'Paris end' of Collins Street. Blackbird Melbourne will feature an interior aesthetic rich in dark, moody tones and contrasting textures set against murals contemporary artwork. At street level, an intimate cocktail bar invites guests to find a comfy spot on a sunken lounge, plush banquette or an upholstered armchair, creating an intimate escape from the bustling Flinders Lane. Rising through the levels via a central staircase, you'll find eye-catching chandeliers, mirrored ceilings and an expansive, split-level dining space awash with tonal charcoal hues. This striking setting is the perfect backdrop for executive chef Jake Nicolson's menu. A Victorian native, Nicolson — whose impressive resume includes stints at Daylesford's Lake House and the now-closed St Kilda fine-diner Circa — will highlight premium ingredients such as Josper-grilled and dry-aged meats, fresh seafood, and seasonal vegetables, showcasing the best of Victorian produce. Plus, select ingredients sourced from Queensland will pay homage to the restaurant's origins. "I am very much looking forward to rekindling and building upon the great relationships with growers and producers I had formed during my early years in Victoria," says Nicolson (pictured below). "Showcasing the best of each season's bounty, and combining the very best produce from Victoria and Queensland for all to celebrate through the menus at Blackbird Melbourne is very exciting." Blackbird Melbourne is scheduled for a June opening at Collins Place, 66 Flinders Lane, Melbourne. Check back for updates or head to the venue's website for more information. Images: Markus Ravik.
Last time I went down to Wollongong the driver announced that the last carriage of the train would be a quiet zone. No loud conversations, no chatting on the phone, no music without headphones. This was followed by a loud, automated announcement saying the same thing again, but louder. While a quiet carriage would have to be pretty appealing for the weary reader struggling to beat Game of Thrones to the end of voluminous original A Storm of Swords, you also have to wonder what else you could mandate the end of a train carriage be used for, if only the power was at your command. In places like India and Japan, there are women-only carriages (and there were some calls for that here not long ago) and in Sydney, a group is already taking this idea into its own hands with on-train, flash mob-style music sessions. In the Czech Republic, though, they’re putting space aside for flirting. According to the ABC, commuters in Prague will soon have the option of riding in a dedicated singles carriage. Flirting on the subway in Prague is nothing new — the Prague Frommers guide even has a dedicated guide to the best lines for kissing on — but a dedicated hooking-up space still makes for a first. The planned carriage is part of a drive to convince more locals to abandon their cars for public transport. People whose hooking up is already done won't be asked to leave, nor forced do sit-ups, but it does raise the prospect of Ashley Madison-ing some already committed commuters. Or maybe making for some really awkward rides with home with colleagues during those crowded peak hours. Via ABC / Reuters. Image by Brad Hammonds.
From moving road trip dramas and joyous concert documentaries to passionate anthologies and wondrous animation, plenty of excellent films reached screens large and small throughout 2020. Indeed, the past 12 months were filled with cinematic delights — even when we've been watching them at home while movie theatres were closed — but, sadly, they can't all be great. Each year delivers its fair share of exceptional and awful movies, of course. And, both the best and the worst of the bunch can all score awards. The Oscars and the Golden Globes rank among the accolades that recognise the former, while the Golden Raspberries devotes its attention to the other end of the spectrum. After announcing its nominees from the past year's films last month, the Razzies has just revealed its latest batch of winners. Leading the pack from the 41st Razzie Award recipients is the terrible Sia-directed Music, which picked up three of the four categories it was nominated for: Worst Director (for Sia), Worst Actress (for Kate Hudson) and Worst Supporting Actress (for Maddie Ziegler). It didn't take out the Worst Picture field, though, with that gong going to Absolute Proof. Peddling conspiracy theories about the 2020 US election, it also picked up the Worst Actor award for Mike Lindell as himself. Borat Subsequent Moviefilm similarly picked up two awards. Also linked to the election, it deserves its nods in a different way. The film is smart, funny and savage, and definitely not awful, but scored dual wins for Rudy Giuliani (for Worst Supporting Actor, and for Worst Screen Combo with his pants zipper). Although Polish erotic drama 365 Days nabbed six nods and became the awards' first-ever contender in a language other than English, it only won one, for Worst Screenplay. Dolittle, the Robert Downey Jr-starring remake that hit cinemas before the pandemic, also only received one award from its six nominations, emerging victorious in the Worst Remake, Rip-Off or Sequel category. https://www.youtube.com/watch?v=FEf412bSPLs Reflecting the past year's general chaos, the Razzies also handed out a special trophy to the 2020 overall, naming it 'the worst calendar year ever'. Check out the full list of winners and nominees below: GOLDEN RASPBERRY NOMINEES AND WINNERS 2020: WORST PICTURE 365 Days Absolute Proof Dolittle Fantasy Island Music WORST ACTOR Robert Downey Jr, Dolittle Mike Lindell, Absolute Proof Michele Morrone, 365 Days Adam Sandler, Hubie Halloween David Spade, The Wrong Missy WORST ACTRESS Anne Hathaway, The Last Thing He Wanted and The Witches Katie Holmes, Brahms: The Boy II and The Secret: Dare to Dream Kate Hudson, Music Lauren Lapkus, The Wrong Missy Anna-Maria Sieklucka, 365 Days WORST SUPPORTING ACTOR Chevy Chase, The Very Excellent Mr Dundee Rudy Giuliani, Borat Subsequent Moviefilm Shia LeBeouf, The Tax Collector Arnold Schwarzenegger, Iron Mask Bruce Willis, Breach, Hard Kill and Survive the Night WORST SUPPORTING ACTRESS Glenn Close, Hillbilly Elegy Lucy Hale, Fantasy Island Maggie Q, Fantasy Island Kristen Wiig, Wonder Woman 1984 Maddie Ziegler, Music WORST SCREEN COMBO Robert Downey Jr and his utterly unconvincing Welsh accent, Dolittle Harrison Ford and that totally fake-looking CGI dog, Call of the Wild Rudy Giuliani and his pants zipper, Borat Subsequent Moviefilm Lauren Lapkus and David Spade, The Wrong Missy Adam Sandler and his grating simpleton voice, Hubie Halloween WORST DIRECTOR Charles Band, All three Barbie and Kendra movies Barbara Bialowas and Tomasz Mandes, 365 Days Stephen Gaghan, Dolittle Ron Howard, Hillbilly Elegy Sia, Music WORST PREQUEL, REMAKE, RIP-OFF or SEQUEL 365 Days Dolittle Fantasy Island Hubie Halloween Wonder Woman 1984 WORST SCREENPLAY 365 Days All three Barbie and Kendra movies Dolittle Fantasy Island Hillbilly Elegy
Whether you're a political junkie or simply appreciate the 44th American President's annual end-of-year culture lists, block out your diary for March: you've got a date with Barack Obama. The former US leader is heading Down Under in autumn 2023 for a two-date, two-city speaking tour about leadership — marking his first Australian visit since 2018. President Obama is making the trip for an event dubbed An Evening with President Barack Obama, as presented by business leadership and events provider Growth Faculty. He'll be the organisation's first headline speaker as part of its return to in-person events, in fact — and restarting with the ex-US leader is quite the statement. Obama will take to the stage on Tuesday, March 28 at Aware Theatre in Sydney and on Wednesday, March 29 at Melbourne's John Cain Arena. For folks who can't make it, won't be in either city or miss out on tickets, the Sydney session will also be livestreamed. As for exactly what Obama will be focusing on — leadership is a broad topic — Growth Faculty quoted the man himself, from back in November 2019, as a guide. "Being a leader is not a matter of having your name up in lights, making speeches or corralling power at the top. It's identifying the power in other people and unleashing it," Obama said. The former US President will also cover unpredictable futures and how to navigate them, something that comes with his past job. In-person tickets start at $195, or there's a VIP option in Sydney with a pre-speech cocktail party — although Obama won't be there sipping drinks before taking the stage. AN EVENING WITH PRESIDENT BARACK OBAMA 2023: Tuesday, March 28 — Aware Theatre, Sydney Wednesday, March 29 — John Cain Arena, Melbourne An Evening with President Barack Obama heads to Sydney and Melbourne in March 2023, with tickets on sale from 9am on Thursday, November 24. Head to the Growth Faculty website for further details. Top image: Carol M Highsmith via Wikimedia Commons.
The #BanTheBag campaign has scored a major win, with New South Wales grocer Harris Farm Markets making good on its promise to ditch single-use plastic bags entirely. As of today, shoppers at all of the retailer's stores will now choose between the more planet-friendly options of bringing or purchasing a reusable bag, or taking advantage of Harris Farm's free paper bags and cardboard boxes. The family-owned store is now the first major retailer to do away with plastic bags at the registers, with competitors Woolworths and Coles expected to phase out their own by the end of the year. Harris Farm has long been a vocal supporter of minimising plastic bag use and and it's continuing the push, calling for the NSW Government to enforce a statewide ban on the single-use bags. South Australia, the ACT, the Northern Territory and Tasmania already have a full ban in place, with Western Australia and Queensland enforcing their own from July 1 this year. Victoria is expected to announce a start date for its statewide ban in the coming months. Here's hoping we won't be waiting too long for other big-name retailers to follow stop stocking plastic bags altogether.
UPDATE, Wednesday, May 15, 2024: After two new Olivia Rodrigo shows for October were added at midday today, another two have been announced at 4pm. This article has been updated to reflect all four new gigs — two each in Sydney and Melbourne. Great news if you're a fan of Olivia Rodrigo and the first four tour dates announced for her first-ever Down Under visit didn't suit: four more shows have just been added to the singer and former Disney talent's Australian itinerary. She's still only playing Sydney and Melbourne, adding a third and fourth gig in both cities — and doing so before punters can even buy general tickets, which starts on Thursday, May 16. Big-name acts have a habit of doing this; see also: Taylor Swift, blink-182, Lizzo and The Weeknd, for some recent examples. So, it shouldn't come as a surprise — but it will give you more chances to head along to Rodrigo's huge GUTS world tour Rodrigo has a date with Australia in October, and will now take to the stage at Melbourne's Rod Laver Arena from Wednesday, October 9–Thursday, October 10, and also from Sunday, October 13–Monday, October 14. In Sydney, you can catch her at Qudos Bank Arena dates from Thursday, October 17–Friday, October 18, and also from Monday, October 21–Tuesday, October 22. When we say that this tour is big, we mean it. With the Aussie dates alongside gigs in Bangkok, Thailand, Seoul, Hong Kong, Tokyo and Singapore, the tour spans more than 80 concerts around the globe. Fans Down Under who aren't in Sydney and Melbourne, however, you'll be needing to travel. In support of her second studio album that's also called GUTS, this marks three-time Grammy-winner Rodrigo's first arena tour. The 'Drivers License', 'Good 4 U' and 'Vampire' singer will have her debut album SOUR to work through as well. The GUTS tour started in Palm Springs in February, saw Rodrigo do four shows at Madison Square Garden in April, and is currently making its way around the UK before heading to Europe, back to the US, then to Asia and Australia. Olivia Rodrigo GUTS World Tour 2024 Australian Dates: Wednesday, October 9–Thursday, October 10 + Sunday, October 13–Monday, October 14 — Rod Laver Arena, Melbourne Thursday, October 17–Friday, October 18 + Monday, October 21–Tuesday, October 22 – Qudos Bank Arena, Sydney Olivia Rodrigo is touring Australia in October 2024. Ticket presales start at 1pm on Wednesday, May 15, and general sales at 1pm on Thursday, May 16 — head to the tour website for further details. Images: Chris Polk, Polk Imaging.
It's a familiar problem: your lounge room corner or kitchen windowsill is screaming for a bit of greenery, but finding time to shop for a fiddle leaf fig or a monstera is easier said than done. That's where plant delivery services come in, whether you're after something new each month or a one-off parcel of nature's goodness. And, in the latter camp, Australia has a new site ready to send a baby rubber plant, bird of paradise or peace lily to your door. That'd be The Plant People, a Brisbane-based nursery that takes care of the whole process, including seeding, growing, potting and delivery. At the company's base in Burpengary, green babies are nurtured by propagators and horticulturalists, then sent to eager customers — not only in Brissy or on the Gold and Sunshine coasts, but throughout Queensland, New South Wales, Victoria, the ACT and South Australia. Greenery-wise, The Plant People specialises in low-maintenance plants that can be grown indoors and arrive room-ready, with its range spanning familiar names and more creative types. You can nab a birds nest fern, Swiss cheese plant or string of pearls, or perhaps a philodendron, string of dolphins, Chinese money plant or manda succulent. The collection will continue to grow, following the latest trends and adding new varieties. The Plant People also sells pots, which are made by an artisan in Vietnam, as well as handy accessories such as garden scissors and moisture meters. Prices range from $14.95–$395 — and, no matter where you're getting your plant delivered to in its custom-designed box, shipping is free. The Plant People delivers to Queensland, New South Wales, Victoria, the ACT and South Australia. For further details, visit the company's website.
